pea ap yt nt ie prt py ops Sy 4 pn ery LE OR RY ya Ra he bay ap! A YA en eocers 
iro to nfm aren im, TS eerie eat eS SS 
vacation aT et eet SS gi 
vation : 


pr pee eo nnee nan # 


ears ere 9 
momen Fe vert aS dn geee a hreen ceeanre 11h leper ene weit, 


BARRIOS CSOs, Ne ate ee ge nes 


ete Senewnen ar 
Relocate cs 


Swain ; : Para tt  ge ete eae ee 
Palen Sealine a baer ent ae . “ ae eae eerarere’ : Soar ies 
SSS Se eeeonerse See " So ae 
ose Seen Se 


Cerne 


“ecco a cz 


<—~e 


atenw 
Vw 
Os 

COS ae 

eres 


~e pew wor ve . -: ee oY & Wyle 
Se aeephetont ears we Peo : <= 
vores fa apna Reh cies . a Se view. 


tei atat ata tat 


4. 


oaeery ov 
pte a ee ae 


eae 
~~ me 


Setar ale’ 
babe 
s¢ 


4 
: 








Gee 
ia} 
ae 











Digitized by the Internet Archive 
in 2015 with funding from 
Duke University Libraries 


https://archive.org/details/ongreekcomedy 141 whit 


REPRINTED PROM. HARVARD STUDIES IN 
Si AScICAE. PHILOLOGY,.. VOL... “El 


[Boston: GINN & Company. 1891.] 


ey 
AH AN 
aha 


eit 
techs 


fis ' i i a 
PAM eri ate 


06, centered oe 
Oy). ey 
‘ 


eh) 
pe 


Larevasls 





THE ‘STAGE’ IN ARISTOPHANES. 
BY JOHN WILLIAMS WHITE. 


HAT famous architect and doubtless honest man, Vitruvius 
Pollio, says in his celebrated treatise On Architecture that the 
stage in a Greek theatre should be not less than ten nor more than 
twelve feet high. He says also that the actors performed on the 
stage, the chorus in the orchestra. Pollux repeats the last statement.’ 
Scholars have universally believed in the existence of a stage in 
the Greek theatre and in the consequent separation of actors and 
chorus by a difference of level, until within the last ten years. But 
with the excavation of the theatres at Epidaurus, Assos, Oropus, and 
elsewhere, in quick succession within the last decade, and the final 
excavation of the Theatre of Dionysus at Athens in 1886, the un- 
questioned belief of centuries has been rudely called in question. 
Many a student of the Greek drama must have felt the inherent 
difficulties arising from the supposition of a stage. To ‘set’ a play 
like the Birds or Lysistrata of Aristophanes on a stage of amy height 
is difficult and awkward. The stairway that is needed in order 
to effect connexion between the orchestra on the lower level and 
the stage above” is fatally destructive of that perfect ease of action 
which is instinctively felt to be everywhere characteristic of the 
comedies of the great playwright. The natural solution of the diffi- 
culty, the bold assumption that actors and chorus stood on a level 
and played their closely interwoven parts on the common floor of 
the orchestra, seems not even to have been conceived before the 


1 Vitruv. V. 7. 2: ita tribus centris hac descriptione ampliorem habent orches- 
tram Graeci et scaenam recessiorem minoreque latitudine pulpitum, quod Aoyeioy 
appellant, ideo quod eo tragici et comici actores in scaena peragunt, reliqui autem 
artifices suas per orchestram praestant actiones; itaque ex eo scaenici et thymelici 
graece separatim nominantur. eius logei altitudo non minus debet esse pedum X, 
non plus duodecim. Poll. 1V. 123: nal oxnvy peév bkoxpita@y Yiov, 7 5 dpxnotpa 
TOD Xopov, ev 7 Kal H OupéAn, etre BHud Tt odca etre Bwuds. 

2 Cf. Poll. IV. 127: eioer@dvres 5 kara Thy opyhotpay ém) thy cenvhy avaBal- 
vouot 614 KAtuaKwy > THs d€ KAiuakos of BaOuol KAimakTHpes KaAodyTAL. 


5, 


160 John Williams White. 


last decade. Such an assumption would have opposed a tradition 
which antedates the Christian era. 

The difficulty presented by the height of the Vitruvian stage has 
been dealt with variously. A second stage has been built up in front 
of it, for the use of the chorus, and its advocates have confidently 
believed that its existence could be proved on ancient authority.’ 
Again the suggestion has been made that the stage on which the 
plays of the four great dramatists were acted may not have been so 
high as the rule of Vitruvius demands. His stage of ten or twelve 
feet has been reduced to one of six or seven feet or even less. 
This is probably the resort to which most teachers have had recourse 
when brought face to face with the question in the lecture-room. 
If they have not ignored the question altogether, they have adopted 
a stage that was /ow, such as that of Phaedrus in the theatre at 
Athens and those found in other Romanized theatres. Such a stage 
is the least inconvenient to deal with, and tallies well in height with 
that to which we have become accustomed in the modern theatre. 

The theatre at Epidaurus presents a ‘stage’ altogether different 
from that of the Romanized Greek theatre. In front of the stage- 
building, so-called, in this theatre was a proscenium, a handsome 
facade which consisted of eighteen engaged Ionic columns supporting 
an entablature. The proscenium was slightly advanced at each end 


1 See the citations in Miiller, Bahnenalterthiimer, p.129!. The passages cited 
are misapplied, so that there is not even the authority of late writers for this 
“stage for the chorus,’ which is essentially a modern fiction. Much less is there 
the least suggestion of such a stage in the extant dramas. Oehmichen also, 
Das Biihnenwesen der Griechen und Romer (in I. Miiller’s Handbuch, V. 3, 
p- 242), believes in the supplementary stage. 

2 See Haigh, Attic Theatre, p. 158. Mr. Verrall, in his review of Mr. Haigh’s 
book in the Classical Review (Vol. IV. 1890, p. 226), while regarding it certain 
that Aeschylus and his immediate successors used a stage, seems to reduce the 
height of the stage in Aeschylus to something considerably less than “ six or seven 
feet.” He says: “That the back part of the scene should be somewhat higher in 
level than the front would be in the Zumenides, as always, practically necessary; 
but it is an equally plain condition that the whole scene should be one to the eye 
and one for the purpose of inter-action and intercommunication.” — The exact 
determination of the date of the stage of the theatre at Megalopolis excavated by 
the British School at Athens is awaited with great interest. See Mr. Gardner’s 
brief statement of the results of the excavations in the Avhenaeum for August 23, 
1890, repeated in American Journal of Archaeology, 1890, p. 368 ff. 


The ‘ Stage’ in Aristophanes. 161 


in the form of a wing. At its centre and in the front of each of the 
wings was a door, the sill of which in each instance was on a level 
with the orchestra. The orchestra was a complete circle, whose 
periphery approached the proscenium closely. The height of the 
proscenium, including the entablature, was twelve feet. It stood 
eight feet from the front of the main building. The orchestra meas- 
ured sixty-six feet in diameter. Its outer circle was within three 
feet of the proscenium.' The theatres of Assos, Oropus, and Thes- 
piae had similar proscenia. There was a permanent proscenium also 
in the great theatre of Dionysus at Athens. 

When the first of these facades was laid bare by excavation, the 
view was advanced that it was the front supporting wall of the stage. 
The Vitruvian stage had at last been brought to light. On the floor 
laid from the entablature to the wall of the main building behind the 
proscenium the actors had played their parts; the chorus were in 
the orchestra, twelve feet below. That the proscenium was the front 
supporting wall of the stage is the view vigorously maintained in 
two noteworthy books already mentioned, Albert Miiller’s Lehrbuch 
der Griechischen Bihnenalterthiimer (1886) and Mr. Haigh’s Zhe 
Attic Theatre (1890). Dr. Miiller believes in the existence of the 
above-mentioned supplementary stage for the chorus, which would 
reduce the difference of level between chorus and actors; Mr. Haigh 
stoutly and successfully argues against it.? 

Dr. Wilhelm Dorpfeld, the well-known First Secretary of the Ger- 
man Archaeological Institute at Athens, denies that the proscenium 
was the supporting wall of the stage. It was, he says, the support on 
which was displayed the scenery appropriate to the play. The actor 
stood in front of it, not over it. Actors and chorus were on the 
same level. In the time of the great dramatists, the ‘ stage’ had no 
existence.® 

1 An excellent plan of the theatre at Epidaurus is given in Baumeister’s Demh- 
miler des klassischen Altertums, p.1735. See also Tafel LXV. for a restored view 
of the proscenium. Representations also in Miiller, 4.-4., pp. 5,6; Haigh, 4. 7., 
Ppp. 130, 134, 147; and Oehmichen, Biiknenwesen, Tafel I. For the excavations 
at Epidaurus as first reported, see "A@jvaov, IX. p. 464 ff., X. p. 53 ff.; TMapvacces, 
VI. p. 864; Mparrind tis év “AOjvais apxaioAoyikfs éEtaipias, 1881, with four plates, 
1882, p. 75, 1883, p. 46 ff., with two plates. 

2 Miller, 2.-4., pp. 129-136; Haigh, 4. 7., pp. 154-157. 

3 In 1884 Julius Hépken presented at the University of Bonn, as candidate for 


162 John Williams White. 


This view is revolutionary. Dr. Dorpfeld, who is a trained archi- 
tect, apparently came to entertain it mainly through architectural 
considerations.’ His arguments in support of it, and of another 
view equally revolutionary, as to the date of the great theatre at 
Athens, will be presented in the winter of 1890-91 in a book already 
announced.” 

Those who have engaged in the discussion of this vital question 
have found common ground on which to stand. It is generally 
agreed that, when we turn from the architectural to the literary 
evidence, the lexicographers and scholiasts must be practically aban- 
doned ; we must depend upon the evidence furnished by the extant 


the degree of doctor of philosophy, a thesis entitled De 7heatro Attico Saeculi A. 
Chr. Quinti, in which he combats the generally accepted view transmitted by 
Vitruvius and Pollux that the chorus played their parts in the orchestra, the actors 
theirs on a high and narrow stage that stood behind it. According to Hopken 
‘in proscaenio” (the ‘stage’) “apparatus scaenicus ponitur, quem ante ludorum 
initium spectatoribus proscaenii aulaeum obtegit.” In front of this lies the 
opxnotpa, a low wooden platform occupying the greater part of the space en- 
closed by the seats. ‘This ‘orchestra’ is in form two thirds of a circle. About it, 
at a lower level, lies the koviotpa. ‘The ‘orchestra’ was occupied in common by 
actors and chorus. 

In combating the tradition transmitted by Vitruvius and Pollux, Hopken 
depends mainly on late writers. He quotes also certain passages from Aris- 
tophanes to prove that the actors must have stood in the vicinity of the spectators. 
It does not appear from his thesis that he was aware of the excavations at Epi- 
daurus. Hopken has been treated with undeserved contempt by his critics. 

1 It does not appear from any published statement that Dr. Dérpfeld, at the 
time when he first announced his view, was acquainted with Hdpken’s argument. 

2“Das Dionysostheater in Athen, Studien zur Geschichte des antiken The- 
aters.” Dr. Doérpfeld will have Dr. E. Reisch as collaborator in this work. 

Dr. Dérpfeld’s theory was first announced in print in brief notices in the Aus- 
grabungsberichte in the Athenian “ Mittheilungen” and in extracts from a letter 
in Miiller, 4.-4., p. 415. It was next briefly presented, on information furnished 
by Dr. Dérpfeld, in G. Kawerau’s article on Theatergebaiude in Baumeister’s 
Denkmiler, p. 1730 ff. Ina review of Mr. Haigh’s Attic Theatre in the Berliner 
Philologische Wochenschrift for April 12, 1890, Dr. Dérpfeld himself states, but 
necessarily only briefly, his reasons for believing that actors and chorus played on 
the same level. Miss Harrison has published a translation of this part of Dr. 
Dérpfeld’s review in the Classical Review for June, 1890, p. 274 ff. Mr. Haigh 
answers Dr. Dérpfeld’s criticism in the same number, p. 277 ff. See also Dr. 
Dérpfeld’s review of Oehmichen’s Biihnenwesen in the Berliner Philol. Woch. for 
November 29, 1890. 


The ‘Stage’ in Aristophanes. 163 


Greek dramas themselves.1 The most bewildering confusion of 
terms and conceptions pervades the writings of the lexicographers 
and scholiasts ; and yet through all this confusion may be traced the 
dominant belief in the existence of a stage. This last fact proves no 
more than that this belief arose and became fixed before the time of 
these later writers. 

The literary evidence, then, in support of or against the theory of 
the existence of a stage in the fifth century must be sought for in the 
plays that have come down to us. It would, indeed, be surprising 
if they left us uncertain as to the facts; and it would be scarcely less 
surprising if, on a more careful examination than, with a single ex- 
ception,” has yet been given them, they should be found to confirm 
the testimony furnished by monumental remains, and should them- 
selves supply the evidence on which we should abandon our belief in 
the existence of a stage in the time of the great dramatists. The 
importance of such a thorough examination is manifest. Mr. Haigh 
feels justified in saying: “It appears, therefore, that the testimony 
of Aristophanes points decisively to the existence of a stage for the 
actors in the fifth century.” And again: “And the passages in Aris- 


1“ Was spatere Schriftsteller, welche allerdings nicht selten auf das Theater- 
wesen Bezug nehmen, was Vitruv, die Scholiasten und Lexicographen, nament- 
lich Pollux Einschlagendes berichten, ist zwar zum Theil sehr werthvoll, darf aber 
fiir die Einrichtungen des fiinften Jahrhunderts, dem die betreffenden Autoren 
bereits fern standen, nur mit Vorsicht benutzt werden, so dass wir fiir die clas- 
sische Zeit wesentlich auf die Durchforschung der erhaltenen Dramen ange- 
‘wiesen sind, und dass diese Quelle, so bald man sich bescheidet, nicht mehr 
wissen zu wollen, als was aus den Tragddien und Komédien mit Sicherheit ermit- 
telt werden kann, eine durchaus ergiebige ist, haben neuere Forschungen gezeigt, 
welche mit dem friiher iiblichen Verfahren, den Biihnenweisungen der Scholi- 
asten und den Nachrichten der Lexicographen bei den betreffenden Untersuch- 
ungen gleiche Beachtung zu schenken, gebrochen haben.” Miller, &.-4., pp. 
107,108. “Diese Frage kann auch nicht entschieden werden durch den Hinweis 
auf irgend eine Nachricht eines spateren Lexikographen oder Grammatikers. 
Nur die Nachrichten welche wir den Stiicken der grossen Tragiker und Komiker 
selbst entnehmen, und welche wir bei andern Schriftstellern des V. und IV. Jahr- 
hunderts finden, k6nnen als entscheidend anerkannt werden.” Dérpfeld, Ber- 
liner Philol. Woch., 1890, p.468. Haigh also attaches great value to the evidence 
supplied by the dramas, 4. 7., p. 144. 

2See Hermes, XXI. (1886), “Die Biihne des Aischylos,” by U. v. Wilamo- 
witz-Mollendorff. 


164 John Williams White. 


tophanes appear to prove decisively that in the fifth century the 
actors stood on a considerably higher level than the chorus.” And 
finally: ‘“‘ The other theory, that during the fifth century actors and 
chorus were both in the orchestra and on the same level, appears to 
be conclusively disproved by certain passages in Aristophanes.”’? 

The present paper states the results of a careful inspection of the 
comedies of Aristophanes made with the intention of testing what 
may perhaps properly be called Dr. Dorpfeld’s theory. ‘The results 
of this investigation amount to an argument in favor of the proposi- 
tion, that the Comeates of Aristophanes could not have been performed 
on the stage of Vitruvius. This paper has, therefore, been cast in the 
argumentative form.’ 


POSITIVE TESTIMONY TO THE EXISTENCE OF A STAGE FURNISHED BY 
ARISTOPHANES. 


There are certain passages in the great comedian in which the 
use of the terms dvaBaivey and xaraBaivey has been thought to 
prove the existence of a stage. Varying degrees of reliance, how- 
ever, have been placed upon these by the advocates of the old 
theory.’ ‘These passages are five in number, as follows: 


ite METAPEYS. 
GAN © Tovnpa Kopta KaOXiw aTpos, 
» N A » 2 7 , 
dpPare roTTav padday, al x evpyTé ma. 
Ach, 7315 (732. 


14, 7., pp. 144, 146, 158. 

2 The statement of the investigation is here strictly limited to Aristophanes, 
because it seemed desirable to keep the facts to be deduced from the plays of 
each dramatist distinct. The results here presented, however, are confirmed by 
those reached by an investigation of the tragedians. ‘This paper will be followed 
by two similar papers, the first stating the results of an inspection of the plays of 
Euripides, the second, of the plays of Aeschylus and Sophocles. 

3 Miiller, B.-A4., p. 110, for example, citing the last four passages quoted just 
below, thinks that Vesp. 1514, 1515, proves conclusively that the actor stood upon 
the stage, but says that ‘elsewhere’ kataBatvew signifies simply “abtreten,” and 
correspondingly ava8aivew means “auftreten.”” On the other hand, Haigh, 4. 7, 
p. 144, cites the same passages as proof that “the actors had been accustomed to 
stand on an elevated platform.” The only passage of the four that is doubtful, in 
Mr. Haigh’s view, is Vesp, 1514, 1515, but in this also he thinks that the literal 
meaning is much the more probable. 


The ‘ Stage’ in Aristophanes. 165 


2. OIKETHS A. 
© paKkaple 
d\Aavto7OAa, detpo detp & diATaTe 
E) vA \ ~ 7 \ ~ , 
avaPaive wring TH TOA Kal VOY daveis. 
Eq. 147-149. 
3. ®IAOKAEON. 
avaBatve dedpo xpvotounAcAcvbtor, 
~ \ ~h A ~ A 
TH XElpt Tovdt AaBowevyn Tov cxOLVioV. 
M / ~ e XV \ 4 
exov* dvAatTov 0, ws Carpov TO cyxoLViov. 
Vesp. 1341-1343. 


®IAOKAEON, 


= 


atap kataBatéov y éx attovs por: ov Oe 
GApnv Kika TovTously, HV éyw KpaTo. 
Vesp. 1514, 1515. 

se XOPOS. 

ti Onta SiarpiBes Exwv. GAN’ otk ayets 

tacdi AaBav; év dow d€ KaTaBaives, eye 

eracoual peAos TL weAAOSE(TVLKOV. 

Eccl. 1151-1153. 

It will be observed that the reference in these passages is always 
to an actor (or mute), and that the terms are used, either just after 
an entrance (dvafaivev) or just before an exit (xataBaivew). The 
terms have commonly been interpreted to mean respectively, come 
wp upon the stage, and go or come down into the orchestra. 

The same words are often used in other passages in Aristophanes, 
but in different application... These occurrences, therefore, have no 
direct bearing on the present discussion. 

The text of all of the passages quoted is sound. If the ordinary 
interpretation of any one of them can be successfully maintained to 
the exclusion of any alternative view, the existence of a stage in the 
time of Aristophanes must be conceded. 

An interesting scholium on the second of the passages quoted 
(Eq. 149) reads as follows: dvaBatve cwrtnp TH TOAE: “Iva, Syoiv, ék 
THs Tapodov ext TO Aoyeiov avaBy. (dia Ti otv Ex THS Tapodov; TodTO 
yap ovK dvaykaiov. Xextéov ovy ort avaBaive éX€yeTO 76 Ext TO Aoyetov 

1So dvaBaivery Vesp. 398, Ran. 130, Frg. 329 (Kock); xataB8aiverw Ach. 400, 


Nub. 237, 508, Vesp. 347, 397, Pax 725, Lys. 864, 873, 874, 883, 884, Thes. 482, 
483, Ran. 35. 


166 John Williams White. 


eiotéval. 0 Kal mpdoKelTa. A€yeTat yap KataPaivey) TO amaddAdrTEc Oat 
éyredv0ev amd Tov Tadalov €Oovs. (rovrov dé ot wey KAewvvpor, ot de 
‘Yrépodov, of d€ pacw EvBovaov civat. ws év Ouypedy de 70 ava Barve. ) 

The scholium is here given as printed in Diibner’s edition. In 
Suidas the words read (s.v. dvaBawve) : ioréov dru eXeyov ol tadatol Td 
émt Adytoy ciovevat dvaBaivev, kataBaivery d€ TO dradddTTEeoOat evredfer, 
dro Tov madaLod eovs. “Apiotodayns ‘dAXavToT@Aa, Sedpo dedp, @ 
pirrare, dvd Bae cwtnp TH TOAEL Kat vOV paveis.”’ 

The scholium is clear. It should be noted first that both scholi- 
asts assume that there was a stage in the poet’s time.’ The point 
under contention is simply whether Agoracritus came in through the 
parodos and mounted the stage, or came in through one of the wings, 
where, as both of the scholiasts would have agreed, the actor almost 
invariably made his appearance, if he did not come directly from the 
axnvy. The second scholiast corrects the other, and says: “It should 
be understood that 70 come in upon the stage was called ‘ ascending,’ 
just as fo retire from it was called ‘descending.’ ‘This use of the 
words arose from the ancient practice.”” What he denies is that ava- 
Batvew signified “to come wf on the stage.” Here then is a com- 
mentator who believed, as the moderns also generally have believed, 
that there was a stage in the time of Aristophanes, transmitting the 
tradition that the words avaBaivew and xataBatvew when thus used by 
the poet had lost all sense of elevation and descent.” Before Aris- 
tophanes’s time they had become technical ‘stage’ terms.? ‘This 
came about, he says, “from the ancient practice.” He is referring 
to the tradition that when tragedy arose from the dithyrambic chorus 
and a ‘speaker’ was first introduced, the latter took his place upon 
the elevation afforded by the so-called éAeos or OvpeAn.* 


1 Cf. the scholiast on Ran. 181 and 297. 

* This use of the words has its parallel in the celebrated court-scene in the 
Wasps. It is hardly possible that Bjuata were brought on with the other court- 
appurtenances, but the technical words are nevertheless used, avaBaivey in 905, 
944, 963, 977, kaTaBalveiy in 979, 980, 981. 

3 This is the point of view from which the last words of the scholium are used, 
ws év Ouuedn 6¢ Td avdBawe. That OuvuéAn here means ‘stage’ is clear from the 
scholium on Av. 673, as év OuuéAn yap mpoowmeioy é&fAOev Exovoa (Speaking of 
Procne). 

* Poll. IV. 123: eAeds & av rpdrela apxata, ed’ hv mpd O¢amdos eis Tis avaBas 
TOiS XopevTais amexpivato. Cf. also Et. M., p. 458, 30. 


The ‘ Stage’ in Aristophanes. 167 


The scholiast in V, then, offers an alternative to the common 
interpretation of dvaBaivey and kataBaivey. He transmits an ancient 
tradition which gives the words a meaning that, if applicable to Aris- 
tophanes, destroys their force as an argument to prove the existence 
of a stage in his time. In determining whether or not there was a 
stage, we are then thrown back upon other internal evidence. If this 
evidence proves that there was no stage, we shall naturally attach to 
the words in the period when there was no stage the meaning for 
which the scholiast vouches in a later, though still early, time, since 
in the sense of ‘enter’ and ‘retire’ they are precisely as applicable 
to the scenic action in the period when there was no stage as in the 
somewhat later time of which the scholiast speaks.1 

The passages will now be considered in order. In the Knights, 
the Sausage-seller is espied (v. 146) at the left, and Demosthenes 
calls out, ““O come in, come in!” In the passage quoted from the 
Acharnians, the girls are following their father, who says to them as 
he advances to a central position, “Ye poor bairns of an unlucky 
father, come on and get your bannock, an ye find it anywhere.” In 
the first passage quoted from the Wasps, Philocleon comes in ‘ fight- 
ing drunk,’ torch in hand. He rails at the crowd that follows. The 
ovprorat, whose party he has broken up, make threats of conse- 
quences on the morrow and retire. The old man is left in posses- 


1 Three periods must be recognized: the earliest time, when the actor stood 
on the @Aeos; the classical time, when he stood in front of the proscenium; the 
Macedonian epoch, when, with the loss of the chorus and the general vitiation of 
public taste, he did doubtless stand upon it. In the first period, avaBaivew and 
KkataBaivery meant ‘ascend’ and ‘descend’; in both the second and the third, 
‘enter’ and ‘retire.’ In the first period, dvad8aive and katdBaive, applied to the 
original ‘speaker’ and to the first actor of Thespis, who doubtless took the same 
position, actually did mean ‘ascend’ and ‘descend.’ But with the introduction 
of the second actor, when the dialogue became independent of the chorus, and a 
complete story was acted from beginning to end, involving many ‘mounts’ and 
‘descents,’ the elevation disappeared as an impossible contrivance. This is the 
second period, of which the scholiast had no knowledge. It is surely not without 
significance that just at this time Aeschylus invented what were in effect a means 
of compensation for the loss of the elevation, — the cothurn, the high mask, the 
padded figure, equipped with which in tragedy the actor stood out distinct from 
the members of the chorus. The terms might still be used in a technical sense 
when the actor made his entrance or exit. Under just what circumstances they were 
so used will be noted later. See p.170f. They occur, in fact, only in comedy. 


168 Sohn Williams White. 


sion of the field, with the girl (avAnrpiés) whom he has carried off. 
The scene has been a spirited one entirely at the right. The ovpro- 
tat have appeared and disappeared. Then the old man dacks on 
the scene toward the centre, saying to the girl, who has been standing 
at one side and who is apparently reluctant to come forward, ‘‘Come 
on here! Lay hold on this old ‘rope.’ But be on your guard, for 
the ‘rope’ is rotten.”” The following verses show what the action was. 
The oyowwoy was the cxvurioy xafemevoy with which every comic actor 
who played a man’s part was equipped. Philocleon pulls the girl 
in in a manner that did undoubtedly “ provoke the laughter of the 
boys.”* It will be agreed at once that the problem of the scenic 
action is made enormously difficult by the supposition that Philocleon 
is on a lofty ‘stage’ and Dardanis down below in the orchestra ! 
And yet this view has been seriously advanced.’ 

In the first of the twc passages where xarafatve occurs, the word 
is used in a metaphorical, not in a literal sense. katafPaivey here 
means 22 certamen descendere, as is now generally agreed. ‘The 
word occurs in this sense in Herodotus, Sophocles, Xenophon, and 
Plato,’ and this sense exactly suits the connexion here. 

Certain preliminary considerations are necessary to the interpre- 
tation of the second of the two passages where xaraBaivey occurs in 
the apparent sense of ‘descend’ (Eccl. 1152). 

It should be observed that the codices assign nothing to Blepyrus 
after verse 1150. He has something still to do, but nothing further 
to say. To assign to him any part of the lyric which begins at 1163 
is a mischievous modern fiction. This belongs to the chorus, and R 
assigns it in four parts to semichoruses. Again, in 1138 pe(paxas 
cannot refer to the chorus, as the scholiast says that it does. The 
chorus are women of the age of Praxagora, and they are spoken of as 
yuvaixes. So by Praxagora in 504; by the maid in 1125 ; by them- 
selves in 1164. But petpagé in Aristophanes signifies young girl, lass. 
Cf. Thes. 410 (unmarried), Eccl. 611, 696 (wpaia), Plut. 1071, 1079 


1 Cf. Nub. 538, 539, Ach. 1216, 1217 (a similar scene), Nub. 734, Vesp. 739, 
Thes. 643 ff., et pass. See also Miiller, 2.-4., p. 246 f. 

2“ Alloquitur scortillum illud, quod in conyivio arreptum sequi se jussit, et e 
loco sublimi stans blande appellat et ascendere hortatur.” Chrestien. 

3 This sense was recognized early. Cf. Suidas (s.v. rard8a): ka) kataBal- 


3 b) ~ ~ a 
ve TO eis Ayava xwoety: “evTav0a kaTaBatver mapaBadAduevos.” 


The ‘ Stage’ in Aristophanes. 169 


(note especially). It is equally clear that racd¢ in 1152 cannot refer 
to the chorus. The leader of the chorus would have said jas, as 
universally, and certainly would not have excluded herself. racd/ 
refers to the pefpaxes. Besides the chorus, the maid, and Blepyrus, 
then, the presence of others on the scene must be recognized, — 
of the dancing-girls whom Blepyrus is bringing to the dinner. 

Again, the language in 1153 should be noted. ‘The chorus says 
éracouat, Which means not simply “sing,” but “sing in accompani- 
ment.” Cf. Eur. Elec. 864, Hdt. i. 132. On the old view the words 
would have the absurd and impossible meaning, “As you descend 
from the stage, I’ll accompany you with a bit of asong’’! Just here 
an acute observation made by von Velsen is pertinent. In account- 
ing for the omission of the chorus following 1111 he says: “ XOPOY 
adieci editores secutus, quamquam ipse magis in eam sententiam: 
inclino, ut omnibus illis locis non cantus, sed solas saltationes chori 
fuisse putem.” The close of the play, which is exactly similar to the 
close of the Wasps, confirms this view. The poet furnishes, for the 
further delight of his audience, an elaborate dance performed by 
specialists. These are the peipaxes. 

The last scene of the play, then, is as follows. The maid comes 
in (1112) from the dinner to fetch her master. Her language shows 
that she is tipsy. In reply to her question where her master is, the 
chorus answer, with comic recognition of the situation, “ No doubt 
he’ll turn up shortly.””. He does appear at once with the pecpaxes. 
The poet has a special purpose in producing them, but aside from 
this their presence with Blepyrus is perfectly motived. Such dpxv- 
oTpioes Were among the commonest means of entertainment at an 
Athenian dinner. The maid addresses her master in lively and jovial 
language. He is in quite the same mood, cracks his joke, and says 
he is ‘off.’ With the words in 1149, 1150 the ‘business’ of the 
play is practically at an end. Only the ‘exeunt omnes’ remains. 
It is at this point that the chorus say, “ Why, then, don’t you take 
these girls and go? And as you retire, V1 accompany you with song 
in anticipation of our dinner.’’ Blepyrus brings forward the dancers, 
and after a word from the coryphaeus to the judges, the orchestic 
performance begins. The first semichorus joyously sing that dinner 
waits, and exhort the second semichorus to the dance; they, with 
the words rotro 8p6 (1166), execute a movement simply to the 


170 Sohn Williams White. 


music of the flute; then follows the special dance of the peipaxes 
(who certainly are referred to by rade in 1166), accompanied by the 
song of the first semichorus. In this song occurs that extraordinary 
compound in whose invention the noting humour of the poet vies 
with his dancers for the favour of the audience. With the following 
song of the second semichorus, all finally leave the theatre at the 
right, dancing, led by Blepyrus. 

If this explanation of the five passages is correct, these are the re- 
sults. It is shown that the old interpretation of the terms (‘ascend ’ 
and ‘descend’) is impossible for the Vitruvian stage in the third 
and fifth passages ; moreover, in the fifth, that the sense ‘retire’ is 
also impossible in the scholiast’s application of the meaning, since 
actors and chorus are on a level. The last passage, therefore, is 
‘positive proof against the existence of a stage. 

The words dvaBaivew and xaraBatve (old-fashioned terms, come 
down from the fathers), when thus employed, are always used with 
a special touch of humour. By their use the speaker reminds the 
audience, in the good-natured way characteristic of comedy,’ that 
he and his fellows are ‘on the boards.’ When there is no such inten- 
tion, the ordinary words to express ‘ approach’ and ‘ departure ’ are 
used, generally zpootévar and rpocepxecOor, or amievor.” But many 
others occur. In no one of them, however, is there the least indica- 
tion of change of level. The plays are full of illustrations. ‘The 
following, for example, occur in the Birds. The case, it will be re- 


1 The humorous way in which the comic actor takes the spectators into his 
confidence in openly recognizing the theatre and its appurtenances has many 
illustrations in comedy. ‘Thus, the jokes by direct reference to the excdernua, 
Ach. 408, 409, Thes. 96, 265, cf. Vesp. 1475; the reference to the ‘scenes,’ Pax 
731; to the efcodos, Nub. 326, Av. 296; to the statue of Hermes in front of the 
proscenium, Nub. 1478; to the seats, Eq. 163, 704, Nub. 1203; to the mask-makers, 
Eq. 232; to the scene-shifter, Pax 174; to the constables, Pax 774; to the chora- 
gus, Ach. 1155, Pax 1022. ‘The references to the poet, to individuals in the audi- 
ence, to the audience collectively, to the judges, are very numerous. Of the same 
general intent is the express recognition by the chorus at the close of the plays 
that they have been furnishing the spectators entertainment, as Nub. 1510, Vesp. 
1536, 1537, Pax 1355-1357, Thes. 1227. 

2 See E. Droysen, Quaestiones de Aristophanis Re Scaenica, who has collected 
the instances, as also those where an actor enters or leaves by the main scene. 
The terms used in this case are generally eiotévar and efiévar. 


The ‘ Stage’ in Aristophanes. 171 


membered, is always that of an acfor approaching or leaving by a side 
entrance (or more probably by the parodos). ‘To express approach 
in the Birds, we have Kev, 992, 1022, 1038, 1587; Tpexev, 1121 ; 
éofeiy, 1169 ; mpoorevat, 1312; mpocepxeoOar, 1341, 1414, 1709. To 
express departure we find Badiev, 837 ; ievar, 846, 990; arépyec Oar, 
948 (bis) 3 éxtpexety, 991 ; trarokwvely, TOLL ; irdyev, 1017; amevat, 
1020, 1026, 1029, 1636; damocoBely, 1032; amorpexev, 1162, 1549; 
amorérer Oat, 1369." 

The foregoing interpretation of avaBaivey and kxataBatve is pow- 
erfully supported by the negative consideration that sey are applied 
only to actors, never to the chorus. And yet, on the old view, we 
should expect the words to be used of the movements of the chorus 
rather than of those of the actor. For assuming for a moment the 
existence of a stage, for the sake of the argument, the case stands 
thus. There is only one place in Aristophanes (Plut. 253 ff.) where it 
is necessary to assume that an actor comes in through the parodos.? 
He may come on through the wings. This is the view of the second 
scholiast on Eq. 149, who certainly thought that there was a stage. 
The actor, then, is on the ‘stage’ from the first, and the word ava- 
Batveyv in the sense of “come up from below” could not properly be 
applied to him. But the chorus are incontrovertibly on a lower level, 
in the case assumed, and as incontrovertibly in many instances they 
mount the ‘stage,’ that is, come to the main scene of the action. In- 
stances of this in seven of the eleven plays are cited below. Nowit is 


1 Those who believe that dvaBaivew and nrataBaivew signify ‘ascend’ and 
‘descend’ may well be called upon to explain why the actor is brought in only 
a few times through the parodos, but in so many other instances through the 
‘wings.’ What discoverable reason is there for making the place of entrance of 
the Megarian and his girls in the Acharnians (729 ff.) different from that of the 
Boeotian and his servant (860 ff.) ? Or that of Xanthias in the Wasps (1292 ff.) 
different from that of Philocleon and Dardanis (1326 ff.)? But Schénborn (Déze 
Skene der Hellenen), Droysen, and others invariably bring in the actor by the 
‘wings’ unless they are forced to adopt the alternative. 

2 Not that, on the assumption that there was no stage, this may not naturally 
have happened. If the stage is abandoned, the setting of all of the plays will be 
much simplified. This is not the place in which to illustrate the bearings of this 
important fact, but see Dr. Dérpfeld’s brilliant picture of the scene and action 
of the Agamemnon, as given by Miss Harrison, MZythology and Monuments of 
Ancient Athens, p. 292 f. 


72 John Willams White. 


extraordinary that the chorus should be exhorted or should exhort one 
another to mount the ‘ stage,’ as it is said, or should be ordered off 
the ‘stage’ down into the orchestra, and yet that the terms dvaBaive 
and xataBaivew should never be applied to them, although applied to 
the actor in similar circumstances. ‘The words used are very differ- 
ent. They are never terms zmplying change of level. For example, 
in the Wasps, the old dicasts, when they make their attack upon 
Bdelycleon, who is directly in front of the main scene, that is, on 
the stage if there is a stage, say was émiotpepe detpo (422) and 
cir ém aitov tesco (423). When they are driven off, the words are 
obk admire; (458) and dp éeueAAouey ro twas arocoBycav TH xpove 
(460). So in the Birds the exhortation to attack is iw iw, éray 
emiO éxidepe roAeutov dpuav oviay (343 f.) ; and a little later éAeXe- 
ded ywpet (364). The chorus fall back with the words dvay’ és ta&w 
(400). In the Peace, Hermes exhorts the chorus, eiovdvres ws Ta- 
iota Tovs AiPouvs abéAxere (427), and the word used to express their 
falling back is dmeévat (550).’ Illustrations need not be multiplied. 
The poet’s actual choice of words in these situations shows first that 
the exhortation or command cannot have been to mount a ‘stage’ or 
go down from it, but to come forward between the wings and, again, 
retire ; and amounts secondly almost to a conclusive proof that the 
terms avafaivey and xataPaivey cannot have had the signification in 
application to the actor that has generally been given them. 


POSITIVE TESTIMONY AGAINST THE EXISTENCE OF A STAGE FURNISHED 
BY ARISTOPHANES. 


The facts will, for convenience, be presented under the following 
heads, although the divisions are not strictly coordinate, and the facts 
presented under the different heads are not mutually exclusive. 


I. The Argument from Mingling of Chorus and Actors. 
II. The Argument from the Close of the Plays. 
Ill. The Argument from Impossible Situations. 
IV. The Argument from the Over-crowded ‘ Stage.’ 

V. The Argument from Probability. 


1 Miiller, B.-A., p. 109, declares that the Janguage in Pax 564, 565, shows that 
the actors were on a higher level than the chorus! That he should advance this 
seriously as an argument is past belief. 


The ‘ Stage’ in Aristophanes. 173 


I. Argument from Mingling of Chorus and Actors. 


In twenty-five situations in the plays of Aristophanes the chorus 
and actors (or mutes associated with the actors, or — in one instance 
—a musician who comes from among the actors) are at a given 
moment on the same level. In eleven of them, on the old theory, 
the chorus are on the ‘stage’; in fourteen, actors, mutes, or a musi- 
cian, are in the orchestra. 

The argument from these instances will stand thus. If the facts 
are as stated, the burden of proof rests on those who believe in the 
existence of a stage to show that the given situation is, so far as a 
common level is concerned, not the situation throughout the play. 
If nothing in the language or course of the action prior or subse- 
quent to these situations indicates that there has been a change of 
level, we have proof that the ‘stage’ in Aristophanes is a fiction, 
unless we either deny in the first eleven instances that the chorus 
entered by the orchestra or assert for all of them that Aristophanes, 
generally so careful in furnishing motive for introits and exits, allowed 
these changes of level to occur without intimation. 


Chorus on the same level with Actors. 


ve HMIXOPION, 
* \ a A cS) a e 5) A 
OUTOS OV TOL Oets ; OU [LEVELS 5 WS CL Gevets 
Tov avdpa TOUTOV, aiTos apOnoe TAXA. 
Ach. 564, 565. 
The first semichorus are about to s¢7ke Dicaeopolis, when the 
second violently interfere. eve signifies in Aristophanes and else- 
where to strike with some part of the person or with something in 
the hand.’ Before the great Euripidean scene, when the intention 
of the chorus was to s/one Dicaeopolis, the words used were (adda, 
maiw (once), and karaAedw (or an equivalent expression). 


2. XOPOS. 
Exe vuv, adewpov Tov TpaxyAOV ToUTwi. 
éxe vuv, éréyxaov AaBwv 7a0é. 
Eq. 490 and 493. 


1Cf. Eq. 640, Vesp. 1384, Av. 54, 1613, Lys. 364, 821, Ran. 855 (meta- 
phorical). 


174 John Williams White. 


These verses are assigned to the chorusin RVAPMTI®O. The 
editors, following Enger, assign them to Oixérns A, doubtless because 
of the extreme difficulty of the scenic situation on the supposition of 
a stage. This sort of error is wide-spread in the texts. Other in- 
stances will be noted below. ‘The scholiast explains the action: 
atéap Sidovow aito arciherOat, iva edyepOs ddtoOaivey Sivyntar. And 
again: oxdpodov att mpoopepea. 0 faci dely adrov éemipayeiv. 


ae XOPOS. 
GTapvoreov Te THY arEelA@Y TAUTHI. 
Eq. 921, 922. 
All the codices give the words to the chorus; Bergk, Kock, von 
Velsen to the dAAavror#Ans, doubtless for the reason mentioned 
above. The coryphaeus at this point jocosely hands Agoracritus a 
Cwunpvats. : 


He DIAOKAEOQN. 

ed X > \ Q 3S A ) , 3 é) 4 
Ol MeV Es TOV TPwWKTOV aiTOY éoreTETO wpyiopEVoL, 

aA > A 
ot 0€ THPOaALY 'v KYKAW KEVTELTE Kal TOUS OaKTUAOLS. 
BAEAYKAEOQN. 

SEN A > 3 b) 4 E) Ey A A , 
ovxt govt’; ovK és KOpakas; OvK amiTE; Tale TO EVAY. 


Vesp. 431, 432, and 458. 


At the close of this spirited scene, Xanthias does as he is ordered, 
and clubs the chorus. 


Be EPMHS. 
GAG Tals auats 
eioLovTEs ws TAaXLOTA TOs ALDous aPEAKETE. 


XOPOS. 


e / A A \ , A 4 
broreive On TGs Kal KaTaye TOLTLW KEAWS. 


XOPOS. 
GA dyerov viv eAkeTe Kal ow. 


TPYTAIOS. 
ovKouy EAkw KaSapT@pat 
KGTEUTITTW Kal O7TOVOaCW § 
Pax 426, 427; 458, and 469-471. 


The ‘Stage’ in Aristophanes. 175 


The chorus, Hermes, and Trygaeus are all pulling at once on the 
ropes by which the great statue of Peace is finally brought to light. 
The chorus takes part in the libation, 431-457. 


6. OIKETHS. 
ov yap, olTLVES 
A ° 
WuOv KaTaxedvTwy Vdwp ToToUTOVL 
3 3 \ AfpPp ¢ ee Dt NA , 
és TaiTO TOU éEotao iovTEes ywpiov; 


Pax 970-972. 


The servant has doused the chorus (roww8/, 969), who stand about 
those engaged in the sacrifice, and join in the prayers offered. The 
dousing scene is similar to that in Lys. 381 ff., where the semi- 
choruses are on the same level. See below, p. 185. See also the use 
of kataxéw in Plut. 790. 


7 TPYTAIO“&. 


> 


” @ Tpd Tov TevavTes EuBdrdreoGe TOV rAaywuv. 
Pax 1312. 


The kitchen scene begins at 1191. Cf. 1197. Trygaeus is about 
to go within to the dinner that has been made ready. The chorus 


1 T conceive that the second scene in the Peace was managed as follows: Try- 
gaeus mounts skyward on his beetle. The girls and servants go within (149),— 
an important fact to note. In mid-air Trygaeus chants the verses that give the 
scene-shifter the time needed for the change of scene. Trygaeus actually ad- 
dresses him in appealing language (174). The new scene is suspended, as was the 
old one, on the wall of the proscenium. It represents the oixia of Zeus (178), in 
front of which the scene-shifter and the attendants pile a heap of stones, unless in- 
deed these were already there, concealed during the first scene by the wall of the 
beetle-pen. The beetle gently descends to the floor of the orchestra. Trygaeus 
dismounts. He is now év otpavye. The scene thus conceived can be perfectly 
managed during the following action. Thus, Trygaeus announces the hour has 
come to haul Peace out of the pit in which War has immured her (292 ff.), and 
summons the chorus, who come followed by a great crowd. Hermes, finally won 
over, himself lends a hand (416, 417), and takes direction of the work. He bids 
the chorus and their followers come in (eio.dvres, that is, to the space between 
' the wings) and shovel away the stones (427). This they do, and when the liba- 
tion has been made and the ropes have been adjusted, they all pull to the “ Yo, 
heave ho!” of Hermes (459 ff.). Finally the others are pushed aside and the 
chorus of farmers pull alone (508 ff.). And so the action continues in the sim- 
plest manner possible. —In one other play of Aristophanes the scene is changed 
with an actor present, namely, the Frogs, in which the poet had resort to a 
moving scene. 


176 John Williams White. 


are invited (cf. 1305-1310) to fall to on whatever has been left in 
the kitchen of the dishes that have been prepared. 


8. XOPOS. 
eheAeXed ywper KaDes TO pdwos* ov pméAAELY ExpHV. 
eXxe TiANE Tale OElpEe, KOTTE TPWTNV THY XUTPAY. 
Av. 364, 365. 


The pots are on the old fellows’ heads. 


Q. XOPOS TEPONTON, 
A \ - \ \ Ta e A 
Kav py KaXovvTwY TOVs MoxAoUs XaAWOL al yuVvatkes, 
éumimpavat xpi) Tas Ovpas Kat TO Kav rece. 
Lys. 310, 311. 


The old men are just in front of the main scene, from which 
Lysistrata enters at 430. Here they intend to set their fire going.’ 


10. @EPATION. 


vy tov AC’ ws 48n ye xopodto’ évdobev. 
Lys. 1241. 


The persons who appear are Lysistrata, a semichorus of Laco- 
nians, and a semichorus of Athenians. ‘They come directly from 
the main scene, the gates of the Acropolis. 


1 The language of 286-288 (note oiudv) seems at the first glance to indicate a 
change of level, but only at the first glance. These verses are part of a lyric 
strophe, which is followed immediately by the antistrophe. Four such lyric num- 
bers occur after the entrance of the chorus of old men before they turn to the 
main scene and at 306 (the verses beginning here are iambic tetrameters) pro- 
ceed to execute the purpose for which they came. During these lyrics the old 
men are in the orchestra. They certainly cannot be mounting the stairway that 
leads to the ‘stage.’ The language in 286-288 is perfectly justified by the scene, 
which represents the approach to the Acropolis, with the wall above. (Lysistrata 
and other women appear here in the course of the action on /op of the prosce- 
nium, 829 ff.) That the poet was thus able, assisted by the painted scene, safely to 
appeal to the imagination of his audience finds striking confirmation in the Thes- 
mophoriazusae. The second scene of this play is the Thesmophorium, which 
stood on high ground. Mnesilochus, announcing the coming of the chorus, says 
(281), dcov 7d xphu’ dvepxe® iad rHs Alyvvos. But the chorus are coming into 
the orchestra on a dead level. Compounds of avd are used also in 585, 623, 893, 
1045. 


The ‘ Stage’ in Aristophanes. 177 
11. Thes. 730-738. 


During the time that intervenes between the exit and reappear- 
ance of the First Woman with her servant, the chorus are left in 
guard of Mnesilochus, who has fled to the altar in the Thesmopho- 
rium. ‘The chorus have been implored for help in 696-698. They 
give the advice to set him afire in 726, 727. He will be free to fly 
while the First Woman is off the scene, if the chorus do not guard 
him. The Third Woman is set to guard him (762-764) when the 
First Woman leaves the scene a second time to go to the prytanes. 
The certain conclusion from this last situation is that there was no 
one present competent to keep watch during her first absence ex- 
cept the chorus, and that the poet who provided for the second case 
would not have neglected the first. ‘The chorus are free during the 
following scene to bring on the parabasis. During the first scene, 
while the chorus is in charge of Mnesilochus, there is no lyric 
number. 


Actors, Mutes, or a Musician on the same level with the Chorus. 


2. AIKAIONOAIS. 
exeaGé vuv adovtes © THVEAAG KaAXNVLKos. 
Ach. 1231. 
Dicaeopolis, the two girls (1200), and the chorus leave the theatre 
together. 


13. AIKAIOS. 

e 7 3 5 / 

q7TTnped * & Kivovpevot 

mpos Tav Gedy deEacGE ov 
e 

Goipariov, ws 

3¢ ~ \ ¢ A 

EFAUTOMOA® pos VpLGs. 


Nub. 1102-1104. 


For a discussion of the action here, see below under 20. 


14. XOPOS. 
GAN’ é€ayer, i TL diAciT dpxorvpevor, Oipale 
UGS TAXU* TOTO yap ovdEls TH Tapos Sédpaxer, 
3 , - 3 , x. AA 
6pxovmevos GaTls a77AAatey xopov Tpvywder. 
Vesp. 1535-1537- 


178 John Williams White. 


Philocleon, the three sons of Carcinus, Xanthias, and the chorus 
leave the theatre together. On the force of xataBaréov in 1514, see 
above, p. 168. 

TS TPYPAIOS. 
dedpo av" 
Katabnoopor yap avTos és merous aywv. 
GAN & mpuraves Séxe0e THv Ocwpiav. 
Gao’ ws tpodvpws 6 mpvtavis rapedegaro. 


Pax 881, 882, and 906, 907. 


For a discussion of the action here, see below under 20. 


16. TPYTAIOS. 
Kal Tots Oearats pirre TOV KpLOov. 
OIKETHS. 
idov. 
Pax 962. 
For a discussion of the action here, see below under 20. 


L7e XOPOS. 
GAN apapevor pépwpev ol rpoTeTaypevoe TOV VUUdioV, wVYOpES. 
Pax 1339-1341. 
Trygaeus, Opora, and the chorus leave the theatre together. 


18. Av. 665-684. 
The flute-player enters from the main scene, is engaged first with 
the actors present, and then passes to the chorus and plays the 
accompaniment to the parabasis. 


19. Av. 1706-1765. 
Note especially 1721, 1722, and 1755. Peithetaerus, the Princess, 
the Messenger, and the chorus leave the theatre together. 


20. AIONY30S. 
ieped SuavAakov p., ty w oou Evprorys. 
Ran. 297. 
Compare the passages quoted above in 13, 15, 16. The situation 
in these four places is practically the same, that of an actor or mute 


The ‘Stage’ in Aristophanes. 179 


very near the spectators or actually among them. In discussing it, 
we must free ourselves, if possibie, of a very natural prepossession in 
favour of a stage. ‘This prepossession seems to have affected the 
views of commentators, who show a strong disposition not to take 
the poet literally, in the face of the utmost directness of language.! 
Certainly a stage so far removed from the spectators interposes 
a great barrier to the action which the language of the poet seems 
naturally to demand. ‘The scholiast on Ran. 297 felt the difficulty 
of the situation: éy zpoedpia Kabnrat 6 Tov Atds (sic) tepets. amopotor 
d€ Ties THs amd TOV Aoyelou TepteAOwy Kal KpYPOels OriaHev Tod iepews 
TovTo A€ye. aivovtar d€ ovK Eivat Eri Tov oyetou, adr’ Ext THs dpyn- 
otpas, €v 7» 6 Audvucos évéBy Kal 0 rAovs ExereXdetro. ‘This is a telling 
concession, and it comes early. 

The poet expresses himself in the four passages quoted above in 
language that is direct and unequivocal. In the Clouds, where, 
as the previous verses make it certain, the address is to the specta- 
tors,” the Just Logic cries, ‘‘ Ye blackguards, in God’s name take my 
cloak, for I desert to you.” The natural inference is that he tosses 
them his outer garment and disappears among them, up the stair- 
way between the wedges of seats. éfavrouoAG might mean simply 
“come over to your side,” but no such interpretation of the previous 
words is possible. One does not deal metaphorically with a cloak.’ 

Again, in the Peace, with the words dedpo ov Trygaeus is address- 
ing Theoria. He has said (871, 872) that he intends to hand her 
over to the Senate, and has appealed in vain for some ‘honest’ man 


1To cite a single case (Miiller, B.-A. p. 109%): “In allen diesen Fallen 
bleiben die Schauspieler auf der Biihne; es handelt sich hier nur um eine Eigen- 
thiimlichkeit der Aristophanischen Komik, der zufolge der Dichter gern das Pub- 
likum in die Handlung des Stiicks hineinzieht.” So indeed the poet does, and 
to a much greater degree than Miiller is willing — or is able, with his awkward 
modern contrivance of a stage before a stage —to allow. Miller cites here the 
passages numbered 15, 16, 20 above. 

2 There is only one real ‘blackguard’ on the scene, it will be observed, 
namely the False Logic. 

8 But nevertheless resort has been had to metaphor, so difficult is the situation 
in these passages on the assumption of a stage. See G. Hermann ad loc.: “ Nam 
ubi omnia plena videt mollium et effeminatorum hominum, perniciem sibi metu- 
ens, ni horum partibus accedat, s¢mzlat se vestem iis transmissurum esse, quo 
expeditior ipse ad eorum gregem perfugere possit.”’ 


180 John Williams White. 


to come forward and take her incharge. Then he says, “Come here. 
I’ll lead you into their midst myself and deposit you among them.” 
This is not the language of a man who remains standing upon a dis- 
tant stage. Trygaeus hereupon makes the actor who plays the part 
of Theoria strip to his cwuariov, and describes the ‘maid’s’ charms 
at length. And then, “Good Prytanes receive Theoria. See how 
eagerly the Prytanis took her from me/” Again the natural inference 
is that the ‘ girl,’ amidst the shouts of the crowd, imposes herself 
upon the Prytanis, as if he really were eager to receive her, and 
presently, as in the Clouds, disappears from view. ‘The actors and 
chorus immediately turn to other ‘business.’ If it is said that the 
scene is too broad even for the comic stage, a strikingly parallel 
scene may be cited. At the end of the Acharnians Dicaeopolis is 
undoubtedly in the orchestra. In his drunken good humour he says, 
wov oT 6 Bacirev’s; amodoTe pot TOV adoKov (1224, 1225), that is, 
reddite ut debitum, where daodore makes it clear that the doxds is not 
yet in his possession, and that the command cannot be addressed to 
his attendants as such. Presently he receives the doxds, for the 
chorus say (1230), xwpet AaBwv tov doxov. It came into his hands 
in some manner that involved, doubtless to his confusion and to the 
amusement of the crowd, the dpxwy BactAev’s, who as director of the 
Lenaean festival would be prominent in the theatre.’ It is danger- 
ous to say what sort of a scene would be too broad for Attic comedy, 
and prudence may prompt us to inquire whether in scenes like these 
our judgment has not been controlled by our prepossessions. 

In the Peace occurs also the passage where the servant attending 
Trygaeus at the sacrifice is bidden, “‘ Now throw some barley-corns to 
the spectators,’ and answers, ‘‘I have done it.”” He did not throw 
the barley-corns, of course, across the whole space of the orchestra 
intervening between the ‘stage’ and the seats. If it is urged that 
this is a bit of pantomime to introduce the following joke, the 
answer is ready that just this thing was often done in the theatre. 
In the Wasps (58, 59) the poet says, 


1 Here again the possibility of taking the situation literally is denied by the 
commentators. For example, “Adesse ergo jimguntur archon BagiAed’s appel- 
latus et certaminis potatorii arbitri, a quibus ut victor utrem vini accipit (v. 
1230).” Blaydes. 


The ‘Stage’ im Aristophanes. I8t 


e A \ 3 My > »y /, 29 , 
U a K€ | 
Ue V 2 p OUK €OT OUTE KApU €K poppidos 


/ Q ~ A / 
dovAw OLUPPLTTOUVYTE TOLS Jewpevors, 


verses that make it clear that his contemporaries resorted to this 
device in order to win the favour of the crowd, and again in the 


Plutus (797-799), 


ov yap mpet@des €ott TO dLdacKkarw 
3 / \ / A / 
icxadia Kal TpwydAta Tots Gewpevots 


Lie EN , wkd - < , A 
mpoPadovt él ToUTOLs cit avayKalely year. 


The commentators on the passage in the Frogs are generally 
agreed that the priest addressed was the priest of Dionysus actually 
present in the most conspicuous seat in the theatre.’ The reference 
is to the priest also in 308, who is there said to have shown great 
concern for his god! It is clear that Dionysus runs away at 297, 
for Xanthias calls to him presently (301), dedpo Seip’ & déor07Ta. He 
must have run to the priest on whom he had called. And the scene 
gains immensely in effect if the action is thus interpreted. There 
is not the least difficulty in doing this, except that caused by the 
assumption of a stage. 


Die ITAOYTON. 
PaiveTe TOLVYY VEILS TOUTH 
Aapradas tepas, xaua Tporeurrere 
TOloly TOUTOU TOUTOY jEAECLY 


Kat poAratow KeAadotrTes. 
Ran. 1524-1527. 


Aeschylus, Dionysus, and the chorus leave the theatre together. 


1So Brunck: “ Histrio, qui Bacchum agebat, hunc versum proferens ad Li- 
beri sacerdotem se convertebat, cui ob dignitatis praerogativam in Liberalium 
celebratione sedes erat in theatri loco maxime conspicuo.” Kock: “ Wie sonst, 
zumal in Gefahren, der Priester zu seinem Gotte fleht, so wendet sich hier der Gott 
an seinen Priester, der bei den Festen des Dionysos die Proédrie hat.” Kock 
does not believe Enger’s assumption, that Dionysus actually leaves the stage and 
goes to the priest, but confesses that he is at a loss to explain what really hap- 
pened: “ Allerdings bin ich auch nicht im Stande die Vorgange auf der Bihne 
wahrend dieses und der folgenden Verse geniigend zu erklaren.” Merry: ‘“ The 
priest of Dionysus sat in a conspicuous place in the theatre; and Dionysus rushes 
across the stage to get his protection.” So manty others. 


182 Sohn Williams White. 


Np). TIPAZATOPA. 
Kal LEVTOL OV [eV 
TavTas KaTevTpemice. 
Eccl. 509, 510. 

The women have returned from the assembly. Praxagora and the 
women immediately with her have already freed themselves from the 
gear they had borrowed from their husbands (503). ‘The chorus 
are about to do so, and Praxagora urges haste. ‘Cast aside your 
mantles! Off with your shoes! Fling away your staves!”” And 
then, kai pevror ov pev tavras Katrevtpeme, “and do you put these 
again in order.” Whom is Praxagora addressing? Not the leader 
of the chorus nor any member of the chorus, for their answer is a 
reply to her command that they shall cast aside their trappings, not 
to her direction that these shall be put in order. ‘Their answer (514) 
involves a fixed formula, and is correctly interpreted by Blaydes, 
“ecce humi iacent omnia quae dixisti.” Praxagora must be address- 
ing one of her attendants. Orders are constantly so given in Aris- 
tophanes to servants, the name not being added. Cf. Pax 937, 956, 
960, 961, 1100, 1193, AV. 435, 947, 958, 1309, etc. The attendant, 
in order to obey the command of her mistress, must pass to the spot 
where the chorus have flung aside their mantles, shoes, and staves ; 
that is, she must be in the orchestra. ‘That the actors are here on 
the same ievel with the chorus, is confirmed by the relation of chorus 

and actors at the beginning of the play. See below, p. 199 f. 


23. CCl ey 1 tte 


Blepyrus, the maid, the dancing girls, and the chorus all leave the 
theatre together. See the discussion of this passage, pp. 168-170. 


Hae Jehote, 2S sit 
Carion has been sent to fetch the chorus (223-228). He and the 
chorus enter the orchestra together at 253, conversing as they come. 
They presently dance, Carion leading off (290 ff.). 


25s XOPO3. 


8 nA / y 10 Sf 
el yap KaTOmLy TOUTwWY GOovTas éerecOaL. Plut. 1209 


Chremylus, the priest, Plutus, the old woman, and the chorus 
leave the theatre together. 


The ‘Stage’ in Aristophanes. 183 


These, then, are the twenty-five instances where chorus and actors 
(or mutes or a musician) are on the same level. The situation 
occurs at least once in each of the eleven plays. Perhaps the fact of 
a common level for chorus and actors will not be conceded in some 
of the instances. But the number will still remain astonishingly large, 
and many of them are of great importance in the action of the play, 
since frequently the situation is continued and involves many persons. 

It may be affirmed with confidence that nothing in the language 
or course of the action prior or subsequent to these situations proves 
that there has been a change of level. (See p. 173.) There is not even 
an indication of such a change. In the first eleven instances, where 
the chorus come to the actors, it will doubtless at once be granted 
that the entrance of the chorus upon the scene must have been made 
through the parodos. If we still. maintain that there was a stage, we 
are then forced in all of the instances to believe that Aristophanes, 
who motives introits and exits with such care, allowed these changes 
of level to occur without intimation. And this will be urged by those 
who still believe that in five cases he has been careful to indicate the 
ascent or descent of the actor in a similar situation. 

It is of great importance to observe that the argument holds, even 
if we abandon the Vitruvian stage, and reduce the height of the stage, 
as Mr. Haigh has suggested, to six or seven feet. The argument holds 
against amy stage that demands a stairway. The only stage that would 
not give serious offence would be one raised only a single step above 
the level of the orchestra. And this would be a reductio ad— nihil! 


Il. Argument from the Close of the Plays. 


It is noteworthy that many of the situations just cited occur at the 
close of the play.’ In all but three of the plays the chorus and 
actors go off together.2. These three are the Knights, the Clouds, 


1 For the Acharnians, see p. 177; Wasps, p. 177; Peace, p. 178; Birds, p. 178; 
Lysistrata, pp. 176 and 186f.; Frogs, p. 181; Ecclesiazusae, p. 182; Plutus, p. 182. 

2 And yet Mr. Haigh says (A. 7. p. 178) that instances where the actors made 
their exit by the orchestra are only rarely to be met with. In the eight cases 
just cited the evidence that the actors did make their exit through the orchestra 
is certain. If Mr. Haigh is referring to the exits of single actors in the course of 
the play, he is begging the question, so far as proof that can be adduced from the 
plays themselves is concerned. What is the proof that these exits did not occur 
through the parodoi? 


184 | Sohn Williams White. 


and the Thesmophoriazusae. The Knights must be dismissed from 
consideration, for as Dindorf pointed out, and as is now universally 
agreed, the close of this play is defective. Verses of the chorus 
have here been lost. These lost verses may have contained a direc- 
tion similar to that in Plut. 1208, 1209, which would have deter- 
mined the action that closed the play. In the other two plays 
mentioned, the situation demands that the exit of the actors shall be 
hurried.’ 

In the Acharnians, Dicaeopolis retires at the right at the head of a 
triumphal procession. ‘The chorus have been completely won over, 
and he has thoroughly routed the enemies of peace. The Peace and 
the Birds end with the hymenaeus, with splendid spectacular effect. 
In the Wasps, the poet introduces what he himself tells us is a new 
device. (The date of the play is 422 B.c.) 


‘Come, dancing as you are, if you like it, lead away, 
For never yet, I warrant, has an actor till to-day 
Led out a chorus, dancing, at the ending of the play.” 2 


The invention apparently pleased both poet and people, for three 
later plays end in a similar manner,—the Peace, the Birds, and 
the Ecclesiazusae. The grouping of actors, Athenian semichorus, 
and Athenian chorus at the close of the Lysistrata must have been 
effective.2 The same general effect must have been produced by 
the processional close of the Frogs and the Plutus. 

The fact that the comedies of Aristophanes so generally close in 
this manner is surely not without significance. It makes the suppo- 
sition of a stage extremely difficult. In the Frogs, in particular, 
while there is throughout the play the distinctest apparent separation 
of chorus and actors, for reasons given elsewhere,* yet at the close 





1In the Clouds, Strepsiades and Xanthias are escaping from the burning 
house. See Schdnborn, p. 351: “Strepsiades verschwindet von dem Dache des 
brennenden Hauses aus mit seinen Dienern hinter den Coulissen zur linken.” 
Beer’s suggestion that 1508, 1509 belong to the chorus has much to commend it. 
See Kaehler’s note. In the Thesmophoriazusae, the policeman disappears on the 
run in pursuit of ‘ Artamuxia.’ Cf. 1225, 1226. 

2 Vesp. 1535-1537, from Mr. Rogers’s translation of the play. The codices 
read dpxovmevos in 1537. The passage is quoted on p. 177. 

S Seerp.420c. 

4 See p. 199. 











The ‘Stage’ in Aristophanes. 185 


of the play chorus and actors unite in the most natural manner. The 
inference in this play, as in the others, is that “here was no bar to 
their doing thts. 


Ill. Argument from Impossible Situatons. 


In two scenes in the Lysistrata, on the theory of a stage, a chorus 
of twenty-four persons must have executed a dance-movement upon 
it. But this would have been impossible on a stage so shallow as 
that assumed. 

1. The semichorus of old men are certainly in front of the main 
scene at 306-318 ; that is, they are on the stage, if there is a stage. 
They have executed the four introductory lyric numbers in the 
orchestra. At 306 they turn to the accomplishment of the purpose 
which has brought them to the Acropolis. There is no intimation 
that they make an ‘ascent.’’ ‘They lay down their burdens (307, 
314), dip the vine-torch in the pot (308, 316), and threaten to butt 
like battering-rams at the gates of the Acropolis (309), and, if Lysis- 
trata and those with her refuse to obey the summons and undo the 
bars, to burn the very gates with fire and smoke the women out 
(Gur ci 267-2770). 

The semichorus of women enter (with a double lyric number, it 
should be observed) on the level occupied by the old men at 306- 
318. While there is no intimation at any point that the women have 
made an ‘ascent,’ there is clear evidence in the dialogue which be- 
gins at 350 that men and women are on a common level. The old 
fellows threaten to break their sticks on the women’s backs (357) 
and to slap their faces (360 f., cf. 362). The dialogue is spirited, 
and the language implies the possibility of personal contact:? vy 
Tporpéepy THY xElpa Tis (359) ; Gevwov (364) 3 amrov TH dakTVAw (365) ; 
NV OT00® Tots KovdvrAos (366) ; ei THD ws exw TH Aaprads cTabevow 
(376) ; €urpnoov aitns tas Kouas (381). At its close the women 
actually douse the men with the contents of their pitchers.’ 


1 See p. 176, note. 

2 What is here threatened is actually done further on in the play. Cf. 635, 
657, 681,.705. 

3 The course of the action shows that the scholiast on 321 is wrong in suppos- 
ing that the women are on the ‘stage,’ the old men below in the orchestra. zérou, 
métou: Nov éotiv nutxdpiov Td A€yov ex yuvaika@y cicepxoucvey avwhev, Iva Kal 7d 


186 Sohn Willams White. 


The chorus of twenty-four, then, are all on the stage, if there is a 
stage, at the moment of the entrance of the Magistrate at 387. Here 
they remain. But at 476 ff. occur a song and a dance of the old men, 
and at 541 ff. the corresponding song and dance of the women. That 
this lyric strophe and antistrophe were accompanied by a dance is clear 
from the language in 541, éywye yap av ovrore kapoww dv opxoupern. 

Here then is an impossible situation, a dance movemert executed 
on a shallow ‘stage,’ and that already overcrowded. (See below, 
PeeLo mt) 

It should be added that no intimation is given in what follows that 
the chorus descend from the ‘stage.’ But the four lyric numbers 
which begin at 614 are clearly orchestic. 

2. An impossible situation, similar to the above but even more 
convincing, occurs at the close of the play. 

Athenians and Laconians have yielded to the women (1178 ff.). 
Lysistrata nas conducted the men within the gates of the Acropolis, 
where they have feasted and given one another pledges. Each man 
is to take his wife and hie away homeward (1182 ff.). The feasters 
are announced, ws dy ye xwpoto evdofevy (1241), and appear, men 
and women together, as a supplementary chorus of twenty-four, 
consisting of a semichorus of six Laconian men and six Laconian 
women, and another semichorus of six Athenian men and six Athe- 
nian women. Immediately on their appearance through the gates of 
the Acropolis the lyric movement begins (1247). That the songs 
were accompanied by dances is clear. Cf. diroduaéw (1243), dpxov- 
pevovs (1246), dpxnoapevor (1277), mpoocaye yxopdov, émayaye xaptiTas 
(1279), alpeo? dvw ial (1292), © ela Kodda wadAwv (1304), Todoly TE 
maoy (1317). 


In the two situations just described the height of the ‘stage’ is a 
matter of no special importance. The argument rests on its extreme 
shallowness, according to Vitruvius and according to the actual 
remains of proscenia found at Epidaurus, Assos, Oropus, and else- 
where. How extremely shallow it was is worthy of special attention. 


Udwp avTa@v kataxéewow bywhev. 7d de HAAO Hurxdpiov éE avipay KdTrwhev érepxo- 
Mévwy Tats év TH axpomdAc eis moAcopkiav. The scholiast’s imagination was caught 
by the dousing scene at 381 ff. He wished to get the effect of height when the 
women soused the men. 


The ‘Stage’ m Aristophanes. 187 


The ‘stage’ in the theatre at Epidaurus was eight feet deep ; that 
is, this was the distance from the entablature of the proscenium to 
the wall of the main building.’ The later stone proscenium in the 
theatre at Athens, which was probably erected just where the earlier 
temporary wooden proscenium had stood, was no further than this 
from the main building. But there was not actually even this amount 
of space for the movements of the actors. How it was narrowed had 
better be explained in the language of those who believe that the pro- 
scenium was in fact the front wall of the ‘stage’ on which the actors 
stood. Mr. Haigh says: “The upper portion of the painted scene 
represented merely the sky, and was probably the same in all dramas. 
The lower portion was separable from the upper, and on it was de- 
lineated the building or landscape which the particular play required. 
This lower portion of the scene must have stood some small distance 
in front of the upper portion. It is impossible that the whole scene 
should have been in one piece, and have ascended in a straight line 
from the bottom to the top of the stage. If this had been the case, 
there would have been no room for the narrow ledge or platform, 
which Pollux calls the ‘ distegia.’* The distegia was a contrivance 
which enabled actors to take their stand upon the roof of a palace 
or private house. ... In the Acharnians, the wife of Dicaeopolis 
views the procession from the roof of the house. At the commence- 
ment of the Wasps Bdelycleon is seen sleeping upon the roof, and 
his father Philocleon tries to escape through the chimney. At the 
end of the Clouds Strepsiades climbs up by a ladder to the roof of 
the phrontisterion, in order to set it on fire. ‘The distegia must also 
have been used in such scenes as that . . . in which Lysistrata and 
Myrrina are seen upon the battlements of the Acropolis.’ It fol- 
lows from these examples that there must have been room enough 
between the top of the palace or other building, and the surface of 
the scene behind it, to allow a narrow ledge or platform to be in- 
Senteds = ihe) upper portion’ [fof the scenel|/ must have been 


jee above, p. Lois 

2 Poll. IV. 129, 130: 7 5€ dicTeyia more ev ev ofkw Bacirei@ Sifpes Swudtiov, 
olov ap ov éy Powicoas 7 Avtiydvn Bdéret TOY oTpaTdv, TOTE SE Kal Képamos, 
ap ov BadAdAovot TH Kepduw: ev Sé kwuwdia awd THs Sioteylas wopvoBockol Te Ka- 
TomTevovaw 7) yoda } yivaia KataBAéret. 


8 Ach. 262, Vesp. 68, 144, Nub. 1485-1503, Lys. 864, 874, 883. 


188 Sohn Williams White. 


affixed to the permanent wall at the back of the stage. ... The 
lower portion . . . would be fastened to a wooden frame a short 
distance in front of the permanent back-wall. There would thus be 
room for the erection of the ledge or distegia between the wooden 
frame and the wall at the back.” So too Miiller, who is more specific 
as to the amount of space taken by this extraordinary contrivance : 
‘“‘ Indessen ist es eine sehr ansprechende Vermuthung, dass dieselben 
[die bemalten Vorhange] nicht unmittelbar an der Hinterwand be- 
festigt wurden, was nach Errichtung reich verzierter steimerner Wande 
schon des Statuen- und Saulenschmucks wegen nicht moglich gewesen 
ware, sondern an einem holzernen Rahmenwerke, welches jedenfalls 
so weit von der Hinterwand abstand, dass die Schauspieler zwischen 
dieser und jenem sich bewegen konnten.”* The distegia, even at 
the narrowest, must have occupied two feet. Even then the position 
of the actor who took his place upon it would have been extremely 
uncomfortable and precarious. If the distegia occupied two feet of 
space, the total depth of the ‘stage’ in the theatres at Epidaurus and 
Athens was six feet. No dance of a chorus of twenty-four was pos- 
sible, of course, on a ‘stage’ of this depth. 


IV. Argument from the Over-crowded ‘ Stage.’ 


Scenes occur in Aristophanes in which the persons introduced 
are sO many in number and the properties brought on are so consid- 
erable in amount that the action could not have been properly man- 
aged on a ‘stage’ only six feet in depth. The following instances, 
selected from many, will serve as illustrations. 

1. Acharnians 1-203. ‘The play opens with a regular meeting of 
the Athenian Assembly on the Pnyx. The chorus do not enter until 
this scene has closed. The following persons are all ‘on’ at the 
same time: Dicaeopolis (1 ff.) ; a herald (43 ff.) ; the prytanes (40, 
56,167, 173) ; ordinary ecclesiasts (riv éxxAnotav, 56) ; Amphitheus 
(45 ff.) ; policemen (54) ; ambassadors (61 ff.) ; Shamartabas (94) ; 
two eunuchs (117). The prytanes and ordinary ecclesiasts sit, and 


1 Haigh, 4. 7., p. 171 ff., Miller, B.-4., p. 117.— On the theory that actors 
and chorus were on the same level, the ‘roof-scenes’ and the scenes correspond- 
ing to these took place on top of the proscenium. This would give a ‘distegia’ 
eight feet deep. 


The ‘Stage’ m Aristophanes. 189 


wooden benches are provided (25, 42, 59, 123). It is impossible 
to say how many ‘mutae personae’ were brought on to represent the 
prytanes, ecclesiasts, and policemen, but the indications are that the 
number was considerable. Dicaeopolis speaking of the prytanes 
uses the words a@pou xatappéovres (26), a natural indication of what 
is presently to happen; when the prytanes come in they crowd and 
jostle one another in their struggle for a front seat (24, 42); the 
herald’s order is, rapit’ és TO tpdoGev, wapite (43 f.), language which 
suggests the press of a crowd whose numbers make it difficult for 
them to get to their places. 

When Amphitheus, the ambassadors, Shamartabas, and the two 
eunuchs have retired, Theorus (134) and the Odomanti (155) are 
introduced. The latter are spoken of as peyywdratov Opaxav eOvos 
(153) and as “Odonavray orpards (156, cf. 149-152) ; itis said of them 
KataTeATacovTat THY Bowwriav 6Anv (160). 

In this part of the scene from thirty to fifty persons must have: 
been introduced, and benches must have been provided for half of 
them. It is worthy of note, further, that a row occurs betwen Dicae- 
opolis and the Odomanti (163-168). To ‘set’ such a scene as this 
on a ‘stage’ so shallow would be extremely difficult. On the other 
hand, to reduce the number of the prytanes, ecclesiasts, policemen, 
and Odomanti to a handful is without justification. No good reason 
can be given for supposing that the Greeks relinquished the realistic 
effect of numbers in their dramatic representations. The general 
largeness of these representations would suggest the contrary. Our 
undoubted disposition to make the number of the ‘ dramatis personae’ 
small results from the necessity which belief in the existence of a 
‘stage’ has imposed. But in some scenes in Aristophanes the num- 
ber of persons introduced is very great and cannot be reduced arbi- 
trarily by any possible device. Two such scenes follow. 

2. Pax 301-728. The scene describes the recovery of Peace from 
the avtpov in which she has been buried by War. The chorus are a 
part of the action. The passages which prove that all of the action 
takes place on the same level, contrary to the view of some of the 
commentators, are quoted on p. 174. 

The following are participants: Trygaeus (309 ff.) ; Hermes 
(362 ff.) ; the chorus of twenty-four Attic farmers (301 ff.) ; repre- 
sentatives of other Greek states who come in with the chorus and 


190 Sohn Wilhiams White. 


assist in the recovery of Peace, as Boeotians (466), Argives (475, 
493), Laconians (478), Megarians (481, 500). ‘These all actively 
assist in hauling Peace from the dyrpov (cf. page 175, note). Fur- 
ther, when the great wooden statue is brought to light, two ‘mutae 
personae’ appear with it, Theoria and Opora. 

The list of dramatis personae is lacking in R, but is found in V. 
The chorus are there designated as Xopds yewpyav “AQuovewy (cf. 190.) 
That they are farmers can be proved on the internal evidence fur- 
nished by the play. They are so called in 508, 511, 589, 603. ‘That 
the Boeotians, Argives, Laconians, and Megarians who take part in 
the action are not members of the chorus is equally clear. When 
Trygaeus invokes help (296-298), he calls upon others besides 
farmers : 

adr @ yewpyot Kdpmropot Kal TEKTOVES 
Kal OnpLovpyot Kal eToLKoL Kal FEevoL 


\ aw : aA >» 3 5 , U4 
Kal vyowwtal, dedp it @ mavTEs EW. 


Further on, workers in wood and smiths are specially named (479, 
480). When the chorus enter, accompanied by the representatives 
of other nationalities, their exhortation is 6 HavéAAnves BonPyowper 
(302). These supplementary persons are finally excluded from the 
action, and the chorus of farmers alone pull on the ropes and bring 
the statue into view (508, 511). ‘The supplementary persons are 
referred to in 538 ff., where the reference cannot be to the specta- 
tors, as verses 543 ff, prove. Finally the) reference) my, 2omis precy, 
certainly to these ‘ followers’ of the chorus, who at this point, when 
the parabasis is about to begin, take the implements (ocxevy, 729) 
and withdraw." 

That so great a number of persons could have been thus vigorously 
engaged on a ‘stage’ only six feet in depth is not conceivable. Pro- 
vision, further, would have to be made for the stones that before the 
action began were heaped over the dvtpov (225, 361, 427), for the 
statue of Peace, which was so colossal that it provoked the ridicule 


1 So Richter on 731: “ros akoAovbas. Sunt rapaxopnynuata kwhd, quae una 
cum choro prodierant a Trygaeo conclamata. Quorum numerus non definitus ac 
certus videtur fuisse, sed quot choreutas tot quasi mapaxopevtas fuisse verisimile 
est.” 











The ‘Stage’ tn Aristophanes. 191 


of the poet’s contemporaries,’ and for the tools and ropes (299, 307, 
426, 437, 458, 552, 566 f., 729). 

It is instructive to see how self-imposed conditions have been 
ignored by the commentators and writers on scenic action in dealing 
with this scene. These conditions are a ‘stage’ six feet in depth and 
a ‘distegia’ two feet in depth.2 Mr. Green places Trygaeus and 
Hermes on “the upper balcony, or pluteum” (the ‘distegia’). Here 
the action is carried on till verse 728, when Trygaeus descends by a 
back staircase. Here too is the mouth of the cave, and here the 
goddess Peace (“a colossal image”) and Opora and Theoria appear. 
The chorus, however, mount no higher than the ‘stage.’ From this 
they throw ropes up to Trygaeus and Hermes, who attach them to 
the image in the cave, pass them over pulleys, and let down the ends 
to the chorus. This is practically the view also of Schonborn, but he 
notes that the command of Hermes in 426, 427, dAAG Tats dpats eiot- 
6vTES Ws TaXLTTA TOvs ALGous adéAxere, really means that the chorus are 
to ascend to the upper level above the ‘ stage,’ entering (eicvovres) the 
main scene and so coming aloft. They get as far as the stage, where 
they are stopped by Trygaeus, and there they remain. Kanngiesser ac- 
tually brings the chorus upon the éioreyéa and has them dance there! 

3. Lysistrata 387-613. ‘The scene relates the contest of the Mag- 
istrate and his policemen with Lysistrata and her attendant women. 
It introduces: the chorus ; the magistrate (387 ff.) ; policemen (424- 
430, 433 £,4371, 441 f, 445, 449, 451, 455,462) ; Lysistrata (430 ff.) ; 
the First Woman (439 f.); the Second Woman (443 f.); the Third 
Woman (447 f.) ; a crowd of women from the Acropolis (456 ff.). 

The proof that the chorus are on the ‘stage’ at this point is 
given on p. 185 f. The services of four different policemen are 
called into requisition, but the number of policemen present was 
probably greater.2 These four struggle with individual women. 


1 Scholiast on Plat. Apol. 19 c: kwuwdeira dé, St Kal Td THS eipfyns KoAoc- 
oixby é&jpev &yaAua. Evmodis AvToAvKe, MAdtrwy Nias. 

aSee ps ES7 i 

3 The words émaAédaid’ 6 tofdTns in 449 probably mean “ My peeler has the 
worst of it” (meaning the one last engaged), not “I have no more policemen 
left,” as Dobree and Dindorf think. Why Lysistrata says térrupes Adxor in 453 
is explained by the scholiast: rotro 5¢ pow ori Kal mapa Aakedaimoviois Técoapes 
bmapxouct Adxol, ois KéxpnTat 6 Bacirevs. 


192 John Williams White. 


When they are worsted, the magistrate rallies his whole squad 
against Lysistrata and the three other women, opnoce xwpGuev adrats 
@ SkvOu Evvragdpevor (451 f.). Overcome by numbers, Lysistrata 
calls, not on the semichorus of women, but on the women within the 
Acropolis for help, and these come rushing forth (456 ff.) : 


‘‘ Forth to the fray, dear sisters, bold allies! 
O egg-and-seed-and-potherb-market-girls, 
O garlic-selling-barmaid-baking-girls, 
Charge to the rescue, smack and whack, and thwack them, 
Slang them, I say: show them what jades ye be. 
Fall back! retire! forbear to strip the slain.” } 


This is lively action for so narrow a ‘stage,’ with a great number of 
persons ‘on.’ It is difficult, further, to see how the injunction ézava- 
xwpeire (461) could have been an appropriate order on such a ‘stage.’ 


V. Argument from Probability. 


1. The chorus in comedy frequently engage in dialogue with the 
actors in a very familiar manner. When these scenes are continued 
to any length, the situation is intolerably awkward, on the supposition 
that the chorus are in the orchestra and the actors above the prosce- 
nium. The chorus would be in the position of a person calling out 
to another at a second-story window.? Comparison in the following 
typical scenes of the actual situation as conceived by Aristophanes 
with the situation imposed by the Vitruvian stage will show the im- 
probability that the poet was writing to meet the conditions imposed 
by such a stage. In the Acharnians, in a long scene (280-392) in 
which the dialogue is exclusively between one actor and the chorus, 
the chorus come out of hiding, catch Dicaeopolis before his house, 
and are about to stone him to death. The chorus threaten and then 
plead, Dicaeopolis pleads and then threatens. Cf. further the lan- 


1 From Mr. Rogers’s translation of the play. 

“Denn da, wie Vitruv lehrt und das Theater zu Epidaurus bestatigt, das 
Logeion sich iiber die Orchestra um Io bis 12 Fuss erhob, so wiirde bei der An- 
nahme, dass der Chor auf dem ebenen Boden der Orchestra stand, zundchst die 
Ungereimtheit entstehen, dass der Chor nur etwa bis zur halben Hohe des Lo- 
geions hinangeragt und bei seinem Gesprichen mit den Schauspielern wie aus 
einem Keller zu diesen hinauf gesprochen hitte.” Miller, B.-4., p. 128. Miil- 
ler is here arguing for the supplementary stage for the chorus. See p. 160. 


The ‘Stage’ in Aristophanes. 193 


guage in 291, dvvacan mpos eu amoBAerev. In the Wasps (316-394) 
Philocleon is at the window of the house, and concerts with the 
chorus a plan of escape.’ In the Peace (301-361) Trygaeus pleads 
earnestly with the chorus to keep quiet. In the Birds (801-850) Pei- 
thetaerus, Euelpides, and the chorus arrange their plans in the most 
friendly and intimate manner.’ In the Knights (1111-1150) Demus 
and the chorus sing to one another. It seems improbable in scenes 
such as these that the barrier of a high stage separated chorus from 
actors. What was probably the actual situation is illustrated in the 
Plutus (253-321), where Carion and the chorus are in the orchestra 
together, whether there was a stage or not. 

2. There is great difference of opinion as to the extent to which 
the device for exposing an interior, called the éxxvxAnpa, was actually 
employed in the Greek dramas now extant.? 

Haigh describes the eccyclema as follows: “It was a small wooden 
platform, rolling upon wheels, and was kept inside the stage-buildings. 


1 Assuming the house to have been of one story (the fact generally for Athe- 
nian houses in Aristophanes’s time}, Philocleon is still twenty feet above the floor 
of the orchestra, if there was a ‘stage.’ From this altitude, he begins to warble 
his plaintive strain to the chorus! It is improbable, moreover, that the son 
could have been seen by the chorus from the place where they stood in the 
orchestra; but still the old man points him out to them, using the deictic otroci 
(337). Cf. Thes. 1171, where the chorus, in conversation with Euripides, point 
to the policeman who lies asleep in front of the main scene. Cf. also Vesp. 
1208 ff., where Philocleon reclines; Eq. 1214 ff., where the chests are examined; 
and Ach. 989, where the feathers are thrown out of doors. It is doubtful in these 
cases and in Eq. 98 whether even the first rows of the spectators would have had 
an adequate view of what was going on. With the use of the pronoun men- 
tioned above cf. Ach. 607-614 (note twv5i), where Dicaeopolis addresses mem- 
bers of the chorus in a confidential manner.— The use of the word rapiotnus 
also in two places in Aristophanes, in application to the chorus, is worthy of note, 
Tovs 6 av xopeutas HAWiovs mapertavac (Ach. 443), and bueis @ boar mapéotar 
em) tatow @Ovpais (Eccl. 1114). It seems highly improbable that language like 
this could have been used of persons standing ten or twelve feet lower than the 
speaker. 

2 See p. 199, note I. 

3 See Miller, 2.-4., pp. 142-148, with the notes, where full references are 
given both to ancient and modern authorities. Neckel (Das Ekkyklema, Fried- 
land, 1890) denies its use by Aeschylus and Sophocles. In comedy, he says, it 
was used only for purposes of parody. Neckel represents the extreme conserva- 
tive view as against O. Miiller, Albert Miiller, and many others. 


194 John Wrlliams White. 


When it was required to be used, one of the doors in the background 
was thrown open, and it was rolled forward on to the stage. Upon 
it was arranged a group of figures, representing in a sort of tableau 
the deed or occurrence which had just taken place inside the build- 
ing.”’ So practically Miiller and Oehmichen, who add that, although 
the eccyclema was narrow, since its width was determined by the 
breadth of the door through which it was rolled out, it was still so 
long that its surface furnished sufficient sitting accommodation, in 
the Eumenides, for the entire chorus, with Orestes in their midst.’ 
If the Eumenides was brought out on the narrow Vitruvian stage, 
the use of the eccyclema in the scene mentioned must have involved 
the choreutae and the actor who played the part of Orestes in grave 
danger to life and limb.? 

That the eccyclema was a part of the machinery of the theatre 
in the time of Aristophanes is not a matter of doubt. Its use is 
announced in two scenes, and is referred to unequivocally in a third, 
and it must have been brought into requisition in other scenes where 
interiors had to be presented. We may dismiss from consideration 
the instances where it has been thought by learned men that resort 
must have been had to it, but in which its use may fairly be regarded 
as doubtful. The following remain. 

In the Acharnians, when Dicaeopolis is about to plead his cause 
before the chorus, he desires to present himself to them clad in the 
dress of the true Euripidean hero. Euripides’s valet refuses to call 
his master out of doors. Dicaeopolis, standing before the house, 
himself invokes the poet to come forth. The answer is: 


ie : EYPIMIAHS. 
aAX ov TXOAN. 


AIKAIONIOATS. 
GAN éxkukAHOyr’. 


1 Haigh, 4. 7., p. 186; Miiller, B.-4., p. 1464; Oehmichen, Biihnenwesen, 
Pp. 243. 

2 See Dorpfeld in Berliner Philol. Woch., 29 Nov. 1890, p. 1537. 

3 Nub. in init. (see Schénborn, p. 345, and Niejahr, Quaestiones Arist. Scaen., 
p. 37); Nub. 184 (see the scholiast and O. Miiller, K/eine Schriften, 1. p. 538); 
Eq. 1249 (see O. Miiller, 7. Sch., I. p. 537, and Schénborn, p. 316, note); Eq. 
1326 (see Niejahr, p. 32); Vesp. in init. (see Schdnborn, p. 325); Thes. 277 
(see the scholiast). 


The ‘Stage’ in Aristophanes. 195 


EYPIIIAHS. 
GAX ddvvarov. 


AIKAIONOAIS. 
GAN’ opus. 
EYPIIIAHS. 
GAN €xkvkKAnTomat* KataBaivery 8 ov cxoA7. 
Ach. 407-409. 


Euripides appears, of course, by means of the eccyclema,! seated on 
some sort of an elevation. He has about him, in great amount, the 
paraphernalia of his art, ra pdx €« tpaywdias, éoOjr eAcewyy (412, 
413). On the platform by him is the ragged dress of Oeneus, of 
Phoenix, of Philoctetes, of Bellerophon, of Telephus, of Thyestes, of 
Ino. He bestows upon Dicaeopolis from his store the dress of Tele- 
phus, his cap, a staff, basket, cup, potlet, and stale garden stuff. The 
scene ends with the indignant command of the poet (479), 


avnp vBpiler* KAne 7HKTA OwpaTor, 


when the eccyclema is rolled in and the door is closed. 

A similar scene occurs in the Thesmophoriazusae 95-265, where 
the significance of the words ov«xukXovpevos (96), iow Tis... ph eoK- 
KAnoatw (265) is certain. The effeminate Agathon has about him 
on the platform a great amount of properties ; on it is a couch (261) 
and behind it is sufficient free space to permit an attendant to enter 
the house (see 238). 

In these two scenes the use of terms makes it certain that the 
eccyclema was brought into requisition.2 Its use is equally certain 
in the kitchen-scene near the close of the Acharnians (1003-1096). 
The main scene represents the house of Dicaeopolis at the centre, 
that of Euripides on the one side of this, and that of Lamachus on 
the other. The entire space is thus occupied. The kitchen-scene 
represents an interior in the house of Dicaeopolis. When the scene 
closes, his order is (1096), ovyxAye, kai detrvov Tis évoxevalérw. His 
dinner-box is then packed ou¢szde of the house. The scene intro- 
duces on the platform Dicaeopolis as chef, and servants, both men 
and women (1003). ‘They braize and roast meats (1005) and weave 


1 See the scholiast on 408. 
2 See also the metaphorical reference to the eccyclema in Vesp. 1475. 


196 John Williams White. 


chaplets (1006). There are, of course, braziers (1014). The scene 
is full of life and movement.’ 

It is noteworthy that in no one of these three scenes an orchestic 
movement occurs. All the space needed for the eccyclema on the 
floor of the orchestra is at the command of the playwright. It is 
certainly more probable that the machine was rolled out on the floor 
of the orchestra than on the narrow space which the roof of the 
proscenium would have afforded. 

3. Passages occur in Aristophanes in which the distribution of the 
parts and the action are in great confusion in the texts, but which 
are immediately free of difficulties if we assume that there was no 
stage and that the chorus had easy access to the main scene. A 
typical case is Lys. 1216 ff. 

On the assumption of a stage, it is impossible to say in this passage 
to whom wets in 1217 refers. ‘To the “spectatores,” Blaydes says. 
But the question addressed to them is, ri xd0nole; pov éyo 77 Aap- 
dol tas Katakavow; Bergler says: ‘‘Servus, qui est janitor, quos- 
dam vocat, ut sibi sint adjutores in abigendis iis, qui intrare volunt.” 
Dindorf interprets: ‘ Atheniensis minatur plebeculae, non constat 
quot personis representatae, quam chorus invitaverat, vv. 1209-1215.” 
Blaydes introduces in this closing scene no fewer than five speaking 
persons besides the chorus, two of whom are pure inventions; Din- 
dorf introduces four. Meineke’s conception of the action, again, 
is altogether different from that of Blaydes, Bergler, or Dindorf. 
The editors need not be cited further. The passage is in great 
confusion. 

All difficulties disappear, if we assume that the main scene opens 
directly upon the orchestra without the intervention of a stage. On 
this supposition, moreover, we need not depart from the tradition of 
the codices in the distribution of the parts. Only two speaking per- 
sons are introduced besides the chorus and Lysistrata, —a servant 
(G<pamwy) who precedes the revellers with lighted torch, who has 
verses 1216-1220, 1222-1224, 1239, 1240, and an Athenian who has 
been one of the feasters, who has 1225-1227. ‘The chorus have 
1221, 1228-1238, and 1241. 


1 There are two other kitchen-scenes in Aristophanes, in which also the 
eccyclema was probably brought into use, Pax 1191 ff., Av. 1579 ff. 


The ‘Stage’ tm Aristophanes. 197 


The action, then, is as follows. The servant, coming from the 
feast with torch alight, says, inside the door,’ to the door-keeper, 
“Open the door! Get out of the way, won’t you?” The door 
opens, and he sees the chorus, who after the completion of their 
lyric number have grouped themselves about the doorway, and says, 
“What are you sitting here for? You wouldn’t like to have me set 
you afire with my torch, eh? Nay, ’tis a vulgar trick, I won’t do 
it. Still if it must be done, to please you”’ (with a nod to the audi- 
ence), ‘‘I’ll undertake this task as well.” The chorus, with comic 
recognition of the situation, answer, “ And we, with you, will under- 
take the task,” that is, they are ready to be made victims, for the 
pleasure of the spectators. ‘The scene continues, in Mr. Rogers’s 
inimitable translation : 


SERVANT. “Hang you, be off! What are you at? You'll catch it. 
Come, come, begone ; that these Laconians here, 
The banquet ended, may depart in peace. 


( One of the banqueters contes out.) 


ATHENIAN. Well, if I ever saw a feast like this! 
What cheery fellows those Laconians were, 
And we were wondrous witty in our cups. 
Cuorus. Ay, ay, ’tis when we’re sober, we’re so daft. 
Now if the state would take a friend’s advice, 
"Twould make its envoys always all get drunk. 
When we go dry to Sparta, all our aim 
Is just to see what mischief we can do. 
We don’t hear aught they say ; and we infer 
A heap of things they never said at all. 
Then we bring home all sorts of differing tales. 
Vow everything gives pleasure: if a man, 
When he should sing Cleitagora, strike up 
With Telamon’s song, we’d clap him on the back, 
And say ’twas excellent ; ay, and swear it too. 


(The chorus again crowd about the doorway.) 
1 Cf. the entry of Xanthias, Vesp. 835, who is muttering to himself as he 


comes in, and particularly Vesp. 1482 ff., which furnishes a singularly parallel 
case to the one under consideration. 


198 John Williams White. 


SERVANT. Why, bless the fellows, here they come again, 
Crowding along. Be off, you scoundrels, will you? 
Cuorus. By Zeus, we must: the guests are coming out.” 


The chorus hereupon fall back, at each side of the doorway, and the 
two supplementary semichoruses appear, with Lysistrata, preceded 
by their leaders. In precisely the same manner the chorus fall back 
at the close of the Wasps (1516, 1517), to give the dancers space. 

In this and similar passages that interpretation of the action would 
seem to be probable which solves the difficulties of the scenic situation. 


The universal belief in the existence of a stage in the time of 
Aristophanes has introduced grave errors into the text of the poet’s 
plays and into their interpretation. Scholars have been forced to 
assume that the chorus were not an intimate part of the action, and 
have thought of the chorus as a compact body, moving throughout the 
play, with some inevitable exceptions, in stiff military order and with 
that military precision with which they did, doubtless, generally enter 
the orchestra.’ But almost any one of the plays will furnish scenes 
that contradict both assumptions. 

From the very plot of the play, if we may use this word which has 
special modern connotations in application to the Greek drama, we 
should expect to find the chorus engaging intimately in the action. 
In the Knights they come in with a rush, in answer to an earnest 
appeal for help (242 ff.), to bear aid to Oixérys A and Oikérys B, and 
are throughout the play the relentless and active opponents of the 
Paphlagonian. When Agoracritus leaves to encounter Cleon in the 
Senate, the chorus equip him with their own hands for the fight 
(490 ff.). In the Wasps they actually fight hand to hand with 
Bdelycleon and Xanthias in defence of Philocleon (403 ff.) ; and 
when the truce occurs are made the arbiters (521) in the following 
discussion. In the Peace they are the direct agents by which the 


1 Haigh is very bold (4. 7., p. 268): “Except on rare occasions the dra- 
matic choruses were drawn up in forms of military regularity, both on their 
first entrance, and during the progress of the play. They presented a perfectly 
symmetrical appearance in the orchestra.” Miiller is more cautious (B.-d., p. 
212): “Ueber die Stellungen, welche der Chor nach seiner Ankunft auf der 
Thymele einnahm, sind wir bei dem Mangel eingehender Nachrichten fast ganz 
auf Vermuthungen angewiesen.” 


The ‘Stage’ im Aristophanes. 199 


main purpose of the plot of the play is accomplished, and work 
shoulder to shoulder with Trygaeus and Hermes (427 ff.). Even 
in the Plutus, which was written at a time when the importance 
of the chorus in the drama was beginning to wane, they are sum- 
moned to receive their share in the blessings which Plutus is to 
bestow (223 ff.), and actually make their entrance into the orchestra 
in company with one of the actors (253 ff.). In those plays, more- 
over, where they are at first in opposition to the protagonist, they 
become reconciled and afterwards give him hearty support. So in 
the Acharnians (626 f., 929 ff., 1228, 1230) and in the Birds (627 ff., 
1189 ff., 1330 ff., 1720 ff.)." In such plays as the Clouds and Frogs 
the chorus are not so intimately connected with the action as in 
other plays, first because the purpose of the play forbade it, and 
secondly because of the peculiar character of the chorus; but the 
interlocutory scenes in each (¢.g. Nub. 427 ff., Ran. 431 ff.) clearly 
show how intimate the relation of actors and chorus was felt to be. 
In two of the comedies of Aristophanes the relation of the chorus 
to the actors is strikingly intimate, —they constitute with them mem- 
bers of an assembly. In the Ecclesiazusae, first Praxagora enters, 
then the chorus (30 f.), whose leader speaks here and at 43 ff.,? then 
Praxagora’s neighbour (35 ff.), then seven other women who are 


1 Even the codices are frequently in error in the ascription of the parts. In 
the scene in the Birds (801 ff.) where the great City in the Air is given a name 
and its guardian god selected, the internal evidence makes it clear that the 
chorus had their part. In this scene the chorus question, Peithetaerus answers, 
Euelpides is foil. Verses 809 (first half), 812, 817 (first half), 820, $26, 827, 
832, belong therefore to the chorus. Koch, with his well-known acumen, saw 
this; Meineke, less clearly. 

Many passages which have caused great perplexity might be cited which 
become easy of interpretation if we reject the theory of a stage. If the theory 
that there was no stage be accepted, the comedies of Aristophanes in particular 
will need careful and thorough-going revision. 

2 The codices do not recognize the presence of the chorus till 285, but then 
only N, it should be observed. R has the lineola and BI are silent. The ascrip- 
tion of the parts in this play in the codices is notoriously uncertain. Of the 
recent editors, Meineke, Bergk, von Velsen, from internal evidence, recognize the 
presence of the chorus at 30. Even Blaydes, who follows A N in giving 30, 31 
to one of the women, quotes with approval (p. 209 of his edition) Dindorf’s sug- 
gestion, who in speaking of the woman to whom 30, 31 are assigned says, “‘ quae 
fortasse chori kopv@aia fuerit.” 


200 Sohn Wilhams White. 


named, then érepat zoAAal avy yuvaikes (53 f.). They seat themselves 
(57, cf. 130, 144, 152, 169), and Praxagora drills them in the part that 
they are presently to play in the assembly on the Pnyx. ‘They go off 
together, Praxagora and the other women first, the chorus following 
(285) with a quick orchestic movement (289-310). The chorus in 
this scene are in their function undistinguishable from the actors and 
mutes, except at the very close.’ In the Thesmophoriazusae the rela- 
tion of chorus to actors is still more intimate than in the scene just 
mentioned, but still the chorus here better maintain their lyric and 
orchestic function. They constitute, in fact, the meeting, and repre- 
sent the commons to whom the orators address themselves (384, 455, 
466, cf. 533, 540). ‘The orators are the First Woman (Micca, 380, 
760), the Second Woman, who presently retires (458), and Mnesilo- 
chus. Philiste, a friend of Micca, is named (568), and Micca has the 
aid of her slave woman (728, 739, 754). Besides these, the nurse is 
present with the baby (608, 609). How many others were present 
with the speakers (cf. ras dAAas, 607) is uncertain, but probably the 
number of those introduced in addition to the chorus was small. 
This supposition accords with the economy of the play, since the 
chorus appear prominently as such, and since the meeting is pres- 
ently broken up by the discovery of Mnesilochus and is merged into 
the general action. The presence of a large number of mutes would 
be both unnecessary and disturbing. But this prominence of the 
chorus as central figures in the action makes the intimacy of their 
relation to the actors only the more prominent. When the herald 
proclaims that prayer is to be made to the gods (295, 310), the 
chorus answer (312 ff.) and offer the prayer. (Cf. also 332, 351 with 
352 ff.) When the first speaker is about to begin, the chorus say, 
“Silence, silence! Give attention. She’s clearing her throat, just as 
the orators do. Belike she’ll speak at length” (381 f.). The chorus 
express approval or disapproval of the views of the speakers (434 ff., 
459 ff., 520 ff.). When Cleisthenes enters, the chorus take up the 
dialogue in the most familiar manner (582 ff.).? 


i This is, of course, a scene which could not have been acted on the Vitruvian 
stage (cf. the argument in IV., p. 188 ff.), and it confirms the view advanced on 
p. 182. 

? The action in this scene of the Thesmophoriazusae was managed as follows. - 
The background is the Thesmophorium (278). Euripides, Mnesilochus (dressed 


The ‘ Stage’ in Aristophanes. 201 


The chorus, then, were an intimate part of the action. No less 
certain is it that the chorus did not maintain a stiff military formation 
during the entire course of the action of the play. In the first place, 
the instances are not rare in comedy where they certainly broke rank 
and file. Cf. Vesp. 415-462; Pax 458-519, 970-972, and 1305-— 
1315; Lys. 306-318 and 1216 ff.; Thes. 730-738; Eccl. 30-284. 
When, further, we remember how intimately they were associated 
with the action of the play, it seems somewhat absurd, especially in 
comedy, to keep them standing bolt-upright and stock-still, in mili- 
tary order, in long scenes where they have no orchestic movement. 
Cf. for example the close of the scene that precedes the parabasis in 
the Knights (409-497, note especially 490 ff.') or a scene that fol- 
lows in the same play (843-972, note especially 921°). Still, when 
we recall the origin of the dramatic chorus, and observe the fre- 
quency of orchestic movements in comedy, we realize that the func- 
tion of the chorus was different from that of the actor. If we follow 
the indications given in the plays, we shall suppose that the chorus 
could break rank and file on occasion in a manner which did not 
seem unnatural to the spectators, and that at other times, when not 
dancing, they were generally grouped in semichoruses on each side 
of the main action. The division of the chorus into semichoruses is 
generally recognized in the Acharnians (557 ff.) and in the Lysi- 
strata (254 ff. and 1247 ff.). Soin R inthe Ecclesiazusae (1263 ff.). 
It is noteworthy that von Velsen, an editor of great critical acumen, 
has divided the chorus into semichoruses also in the Thesmophoria- 
zusae, Frogs, and throughout the Ecclesiazusae.* The supposition 


as a woman), and Thratta appear at the right (277 ff.). Euripides leaves as he 
came (279), Mnesilochus seats himself, in a convenient place, between the wings 
in front of the proscenium (292), and the maid retires (293). The herald, cho- 
rus, and other women enter at the right (295 ff.). The latter also take their 
seats (cf. 384) between the wings, and here they stand when addressing the 
assembly, that is, the chorus, who occupy the orchestra. —This scene also could 
not have been acted on the Vitruvian stage, and it confirms the view advanced 
on p. 177. 

1 This passage is commented on, pp. 173, 174. 

2 This passage is commented on, p. 174. 

8 Von Velsen edited the text of these three plays in 1883, 1881, 1883 respec- 
tively; that of the Knights, in which he does not recognize the semichorus, in 
1869. He edited the text of the Plutus in 1881, but the omission of choruses in 


202 John Williams White. 


suggested above completely meets the objection that if the actors 
played on the same level with the chorus, the chorus obscured them 
from view. Scenes such as Eq. 1151-1262, Vesp. 1122-1264, and 
Ran. 830 ff. can thus be perfectly managed. Any one who has sat in 
the theatre at Athens and looked down into the great space of the 
orchestra cannot doubt that even the details of the action were 
clearly seen. The performance was in broad daylight and in the 
open air. Dorpfeld, whose careful study of the theatre of Dionysus 
at Athens gives his words great weight, states the facts cogently. 

“Aber der Chor verdeckte die Schauspieler keineswegs: er war 
gewohnlich in zwei Halbchore geteilt, welche sich nicht unmittelbar 
vor den Schauspielern, sondern seitwarts aufstellten; er war nur 
klein im Verhaltniss zu der grossen Flache der Orchestra, auf welcher 
gespielt wurde ; er war durch einfachere Tracht wohl unterschieden 
von dem Schauspieler, welcher durch Kleidung und Kothurn [in 
tragedy | als Hauptperson leicht kenntlich war ; und schliesslich diirfen 
wir nicht vergessen, dass schon die unterste Sitzreihe vielfach etwas 
uber dem Fussboden der Orchestra liegt, und dass die Bewegungen 
der Spielenden, je hoher man sitzt, um so mehr von oben, also im 
Grundriss, gesehen werden. Obwohl in unsern modernen Theatern 
ein grosser Teil des Publikums tiefer sitzt als die Biihne, scheut man 
sich nicht, sehr viele Nebenpersonen auftreten zu lassen, durch welche 
oft genug die Hauptpersonen wenigstens fiir einen Teil der Zuschauer 
verdeckt werden.”’! 


The arguments presented in this paper have been in the main 
negative and destructive. I have endeavoured to show that the com- 
edies of Aristophanes could not have been played on the Vitruvian 
stage. It would be unfortunate to close the discussion without 
leaving a positive impression. ‘The ease with which, on the assump- 
tion that actors and chorus were on a common level and that there 
was not the barrier of a ‘stage’ between them, any comedy can be 
‘set’ is one of the strongest arguments in support of the proposition | 
that in the time of Aristophanes the ‘stage’ did not exist. ‘The play 





the Plutus throws it out of the consideration. — Von Velsen was not influenced, 
of course, in his conclusions by the consideration that there was no ‘stage’ in the 
time of Aristophanes. 

1 Berliner Philol. Woch., 12 April, 1890, p. 470. 


“The ‘Stage’ in Aristophanes. 203 


that gives the greatest trouble on the old theory is the Lysistrata. I 
shall, therefore, close this paper by indicating in broad outline what 
I conceive the course of the action in this play to have been. 

We have before us the temporary wooden proscenium on which 
the scenery was hung, the big circular orchestra, and the two broad 
parodoi. 

The play falls into two acts. The scene of each is Athens. The 
time is daybreak. 

In the first act, the special scene represents the house of the chief 
person of the play, Lysistrata, at the centre. At the right or left of 
centre is the house of Calonice. 

At the beginning of the play Lysistrata enters from her house, with 
an attendant.t Calonice enters from her house at 5. Women enter 
at the left” at 65, 66, among whom is Myrrhina. Lampito enters at 
the left at 77 with other Laconian women, and is followed by a young 
woman from Boeotia (85 f.) and a girl from Corinth (go f.). Lysis- 
trata’s attendant enters her mistress’s house at 199, and returns with 
a cylix and stamnion. Lampito retires at the left alone at 244. At 
253 all the other women troop off at the right to the Acropolis. 

The scene changes. The scene in the second act represents the 
Propylaea of the Acropolis. 

The semichorus of men enter at the right at 254, carrying logs of 
wood and a pot containing fire. Their movements are in the orches- 
tra until 306, when they turn to the main scene between the wings, 
put down their logs, and light their torches. The semichorus of 
women also enter at the night at 319. They too execute a dance, 
and, this concluded, at 350 discover the men, who now return to 
the open space of the orchestra. The two semichoruses face one 
another.* The Magistrate enters at the right at 387 attended by 
policemen. He takes his place at centre with the semichoruses 
grouped in front of him at each side. He is in full view of the spec- 
tators. After the conclusion of his bitter denunciation of the women, 
he sets his men to work with levers on the gates of the Acropolis, 


1 Facetiously called Sxv@a:va at 184. See Brunck’s note. 

2 These entrances (right and left) were probably all made through the paro- 
doi. See p. 171, note 2, and p. 183, note 2. 

3 See p. 176, note. 

ASE ps LOS. 


204 John Williams White. 


when they open and Lysistrata appears at 430. The following scene 
is full of movement.1 Three women appear from the Acropolis one 
after the other at 439, 443, 447, to the aid of Lysistrata and of one 
another. When the policemen charge in a body, other women come 
pouring out of the Acropolis (456) and there is a general mé/ée, 
in which, however, the semichoruses take no part. The Magistrate 
and policemen are worsted and fall back. ‘The semichorus of men 
address the Magistrate, the semichorus of women answer, both in 
iambic rhythm, and then the men execute a short orchestic move- 
ment (476-483). The dialogue between Lysistrata and the Magis- 
trate follows. The grouping is effective. At right of centre stand 
Lysistrata and the women, at left of centre the Magistrate and police- 
men. The semichoruses are grouped in front of these at each side 
as interested spectators of the action, of which the audience also 
have a clear view. The dialogue is broken (541-548) by a short 
orchestic movement of the semichorus of women, corresponding to 
the dance of the men mentioned above. Each half of the dialogue 
practically ends with an anapaestic system (531 ff., 598 ff.). During 
the first the Magistrate receives a wimple and instruments for spin- 
ning; during the second he is equipped with the habiliments of 
a corpse. ‘The scene finally ends at 613. The Magistrate and 
policemen retire at the right, Lysistrata and the women within the 
Acropolis. 

The semichoruses bring forward the substitute for the parabasis. 

Lysistrata enters from the Acropolis at 706, followed later by three 
women, who enter respectively at 727, 735, 742.” The four retire 
within the Acropolis at 780. After antistrophic songs by the semi- 
choruses, Lysistrata appears at 829 on the Acropolis wall ; that is, on 
the top of the proscenium. She is immediately joined by Myrrhina 
and other women (830). Cinesias is seen at the same time to be 
approaching at the left below, with a child, and attended. The 
other women retire from view at 844, and a dialogue ensues between 
Lysistrata and Cinesias. Lysistrata leaves the wall at 864, where 
Myrrhina appears at 872. She leaves the wall at 884, and enters 
through the main scene at 889. The attendant goes off with the 


TVSCen DAO Mts 
2 Verses 760, 761 should be assigned to the First Woman. 


The ‘Stage’ in Aristophanes. 205 


child at 908. Myrrhina goes within the Acropolis at 918, 924, 927, 
935, 939, 945, returning immediately after each exit at 920, 925, 
929, 937, 941, 947 respectively. She makes her exit for good at 
g51. Cinesias retires at the left at 979. The herald from Sparta 
enters at the left at 980, the Athenian magistrate at the right at 982. 
Each retires as he came in, the magistrate at 1012, the herald at 
1013. ‘The men and women of the chorus are finally reconciled in 
a humorous scene full of comic action, ending in a joint dance. 
Envoys from Sparta enter at the left at 1073, Athenian ambassadors 
at the right at 1082. Lysistrata enters from the Acropolis at 1107, 
with a ‘muta persona’ who represents Reconciliation. All go within 
the Acropolis at 1188. The united chorus execute a dance which 
repeats the movement of 1043-1072. The servant enters from the 
Acropolis at 1216,’ and one of the Athenian banqueters at 1225. 
The Laconian and Athenian supplementary semichoruses with Lysis- 
trata appear at 1242. ‘The original chorus is grouped on both sides 
of the entrance. After the dance movements in which each supple- 
mentary semichorus shows its skill, all retire, the Laconians at the 
left, the Athenians at the right. 


1 See p. 196 ff. 


ret 


Se ee 


beta an 


LY 
au MOner 


pap eowe 
BAPE 


SL 


eos 
oft 


Aa 
ie Psa Le AN 


Hnf 


bi STanataA, 
i 















». ti 
; 7 
. yi , 
- eg . ; | 
j 
‘ us ‘ 
* 7 Av ‘ nbs 
. ' ; . 
1 | | | 
i . ; . } 
F . 
; \ | 
F t | 
: \ ' | | 
1 . 
/ 7 * 
| AG fh 
' 1 | 
| i 
j , tj ‘ | : 
; ; i 4 e 








Sa NR oc x eecgoaetmee et eee 





bat Tre fredt 


ov t eh oS raraplticae 
| eee : 


o “K pt af 
sae ae 


NG 


Per sie 


wpe ets tocmpyi! 
tad > 


Pestova 

qa inde ORE Eien c Sa te 

a STDS i pr dpe ampeners “we 
a dX on 


se i 
Dicwn whore re ou F Kee oi 


Y BXaAdks Teed are Ts Te WAAC 


cat Na sss eh rH minh 
AE do, cs ¢ a 
i FD po tam FH Gwe 144 O° 


Pin Eno Mtoe 


en ees. 
aaah tei 


ces af 


“ et 
WAT Were qos To fay ae aeTD\, 


MWR mea howornd renee aeenely 


_ Meadteeyer e TixPi ree PKA, wm 


NA 


Tv Giaw foe: 7 § pa 


i 


ada tie : 
as 9 aaah Gree Tperwee 


a anu! ow Ty BeroKoKny ee NE ite 


i Uatinnene Homme Re eet 


es, ey 
Ci ve, Cw ey oy Rly : 


F 7 cd 
. caw < i 
Mon > Pome 
dT Pine eas i a Fons a Stespahe tava n wil 
SNe pen cervciy ee feat ADK nh oe 
thenpelid- neg poet oud imine to” 
Syose-ren) greg Sev FN enero re: é 


az PARE ll 
aod AenTe a, «3 


“6d +: sae tipilred us ap Ne , dmsnepare al 
Pe ace telomne 5 Daiade : a | 
Mirth comme opr Red T wlep oh, ne! 
@. Es ads > ek Cote aveuveave 
page Kee seat freee se ma Popo — 


See 2 Sete”, 





ty Se eee al $$ 
poe ee TAR CTR TOV eA 
YS oe hee ete eine Sores 
wahbeyy, r KT e REPEL EAT? yf 
VIX KenobrAT Ie S 
res {Ae8 PEAY Oot 


a 





: > af ‘ 
WeB NB eon re rt re nie Pv is Cen ea Mah beim 
: sal : SE Se ee et Ci a 
Cigar Kates menos TEN WILT AS fire by Rea 
fiw, & pe w 
lata ep DiSE Fae gab et ere eter 
DO ree Ae. Lo ee ¢ de aCe hid “Shady Stars pay sis an or i 
mAv cust hady Lemp es Se ‘atl | eA goo} T1938 @xai apady oon vd res ay ee > 
id DON eth dwar Ss ores Spel Piealvtarele te dqann edd chon Ad AS 
a % Leiba 7 y 
ponies neg drapirrdd mpegs ease onn 
2? el , opew :~t 
Kepiseo melard § Ss ai dtr We ass eyes CAs 6 Pee ae aie 
Kee ie POG oo Be way, Op ramrls Deatb eunk 9B rude Rodmpi- fj 
{i eae ee 
ao MB NpeVewysicine peicfO Cota Pica vered jofop parfoprya tare sr Un KOR Nee # 
5. x eu rndrey ew Cow eaves red 7h 7 6 de 5 ‘ 
sae aaaes I navsin depend Pabvig— ie oe ou mrirepesy br Gl. 


Spee ems wyens* 


‘ 


Pivvaieme mate: ~~ : F 
Eb. VE Fady" ex ee ie jee aig ola 
ieee int a 
> i 4 
ay r » ° : Me Ae o aa | 


Copex Urpinas Graecus 141, fol. 183! 


Original size, M. 0,252: 0,170 














TZETZES’S NOTES ON THE AVES OF ARISTOPHANES 
IN CODEX URBINAS 141 


By JOHN WILLIAMS WHITE 


ODEX Urbinas Graecus 141 (U) is a paper ms. of the XIV. Cent. 

in small quarto (0,252:0,170), which contains rgr leaves and 

bears the following title inscribed on a parchment fly-leaf: codoxdéovs | 

Tpaywodiae mévTe,| dpistopavovs Kwpwoiae| Teooapes, | Sophoclis tragedie 
quin | que Aristophanis co | medie quatuo | r.1 

Fol. 78'-191' contain four plays of Aristophanes, the Plutus, Nudes, 
Ranae and Aves, with prolegomena and hypotheses. Preceding the 
Fiutus, the first in order of the four plays, is the statement: Tod 
sopwtatov tléerlov é€nynots eis TOv apictodavny. 

The Aves begins on fol. 174", towards the bottom of the page, with 
two hypotheses (Diibner I, Avo ciciv . . . rerounpevwv, and II, tis 
Tov GOnvatwv ... wept THs aoxns).” Over the first of these stands the 
statement: “Yrd@eos dpviOwv apistodavovs ypappatixod [sic]. The 
second hypothesis ends on fol. 175’, and is immediately followed by 
the note wemotnra: Ta dvopara xré. and the list of dramatis personae.® 
This page contains also 18 verses of the text. 


' Codices Urbinates Graecos edidit Cosimus Stornajolo, Romae ex typographeo 
Vaticano, 1895, p. 267 sqq. A collation of the plays of Aristophanes contained in 
this Ms., made by Zacagni, was used by Kiister in his variorum edition (1710). Cf. 
Praef. p. 2 and 3f. Von Velsen used the Ms. in his constitution of the text of the 
Ranae and Plutus (1881). See also Zacher, Die Handschriften und Classen der 
Aristophanesscholien (1888), p. 583 ff. (a reprint from the sixteenth supplementary 
volume of the Fakr. f. class. Philologie, pp. 501-746); Zuretti, Analecta Aristo- 
phanea (1892), p. 24 and 108 ff.; and Piccolomini, Mzove Osservaziont sugh Uccelit 
a’ Aristofane, in the Studi [tatiant di Filologia Classica, I (1893), p- 443 ff. 

I collated the text and notes of the 4ves in this Ms. in the winter of Igo0o. 

* The first hypothesis is rewritten with a few omissions by another hand on 
fol. 175’ sup. This hand appears also in an irrelevant note on fol. 183’ sup. (See 
the facsimile of 183” prefixed to this paper.) 

3 As follows: Ta Tov dpduaros mpdcwmra: eveNTidys’ mewbéraipos: Oepatwy ero- 
Tos TpoxtNos dvouasouevos Emop: aydwy: xopds dpvidwy: Khpve- iepeds: months: 
Xpnopohoyos* yewuerpns* ewioxotos: Wndicmatomddos* ayyedos* ETEpos dyyedos* tpis” 
€repos Kypvé: matpadolas’ Kino. OiOvoauBoTrows: mévns ouKoparvTyns* mpounfevds- 
Toced@v TpiBaddds* Hoakdjs* olkérns wecberaipov:.- “Apisropavous dpviGes* — The 


70 Fohn Williams White 


The text of the Aves is written, often with inexact division of the 
verses, in two columns,! with the following exceptions: in one column, 
wy. 493-521 (179', 179”), 545-647 (180'-181'), 676-775 (181"— 
182"), 853-856 (183'), 1088-1096 (185'); in three columns, 1476— 
1493 (188'), 1753-1765 (190'). This disposition of the text affects 
the position of the notes. 

The notes are written by the same hand which copied the text. 
The most of them are interlinear. An interlinear note may extend 
across the space between columns; it may begin in the left-hand 
margin; it may be extended into the right-hand margin ; it may be in- 
terrupted and be connected by means of a signum with its continuation 
in the margin.’ 

The marginal notes are generally written in the exterior margin 
(Ext.), a smaller number in the interior margin (Int.), a few on the 
upper (Sup.) and lower (Inf.) margins.? These notes, for convenience, 
may be called Scholia, but they do not differ in the nature of their 
content from many of the interlinear notes. 

Scholia are also occasionally written across the page between lines of 
thestext. (eae). 





spaces left in the text for the names of the speakers were never filled in. (in 
the /Vutus, Nubes and Ranae the names are entered in minium.) The text, there- 
fore, is left without designation of the speaker except before verse I (entered in 
minium) and in the few instances where the first hand entered the name, in black 
ink, as he copied the text. I have observed the following instances of this: 96 éroy 
(ante wav xré.), 228 dndwy (ante v.), 448 kjpvgé (ante v.), 646 of d¥o (ante dudw 
Sex6u€0a), 647 of Svo (ante twuev), 648 of S¥o (ante ardp kré.), 656 dvOpwro (ante 
v. in marg.), 1204 ips (ante v.), 1572 TpiBadds (ante ees arpéuas) - 

' See the facsimile. On this page the arrangement in two columns is disturbed 
by inexact division of vv. 845-847. 

* This is indicated in my 7vanscript of the Notes (see below, p. 72 ff.) by such 
a statement as [int. sig. ] placed within the note (cf. the note on 102), which signi- 
fies that the interrupted interlinear note is continued on the interior margin and that 
the connexion of the two parts of the note is indicated by means of asignum. (C/. 
109, eéc., and the reverse practice as illustrated in the notes on 272, 1681. — The 
notes on v. 794 and v. 929 are written zsder those verses. In like manner the note 
éxe is written under é&es in 1572. 

3 Some of these notes stand within the exterior or interior margin, especially on 
pages where the verses of the text are written in single column. I have not indicated 
the position of these intramarginal notes by a more particular designation than Ext. 
or Int. 


Tsetzes's Notes on the Aves in Codex Urbinas 141 71 


A longer note may stand before or after the verse to which it belongs, 
and may thus be connected with it by position; or it may be connected 
with the verse by means of a signum. A connexion effected solely by 
means of a lemma is rare. 

In my TZvranscript of the Notes (p. 72 ff.) the accentuation and 
spelling of the ms. are retained, but compends, whether words or 
syllables, are not indicated. The ms. uses the comma and the point. 
The former is always preserved in the Transcript, the point also where it 
is a mark of punctuation. The Transcript, in this case, has the high 
point. Other marks that occur in the Ms. are generally ignored in the 
Transcript. — With these exceptions, the Transcript is intended to be 
an exact reproduction of the notes in U. 

Interlinear notes are indicated in the Transcript by the parenthesis 
placed after the word explained, thus dappayotns) before the note on 
y. 2. If several words are explained, the first word or two are given 
followed by points, thus é6p@ynv . . ~) before the note on y. 1. 

To all other notes the bracket is prefixed, and before this is placed 
an indication of the position of the note on the page, and generally also 
of the means by which it is connected with the text. 

The relation of the notes in U to those in V and R is indicated by 
the use of types, or by a symbol placed after the note, as follows : 

Notes that are not in V or R are printed in black-faced type. 

V or R signifies that the note is found in V or R practically un- 
changed ; but it is generally abridged as it appears in U. Furthermore, 
the following differences between U and V or R are ignored in this 
classification as non-significant: blunders in spelling ; the omission from 
U of the article, of unimportant pronouns, and of conjunctions (these 
omissions are probably due to a desire for brief expression) ; variations 
in conjunctions ; and slight changes in the order of the words. 





" See the note on 301. For a subsidiary use of the lemma, see the notes on 
vv. 873 and 874, where the connexion is effected primarily by means of a signum. 
In the note on v. 156 the ‘catch-words’ are at the end of the note; in the note on 
v. 538, they are embedded within it. 

> Such as the following: before the note + or 4 Afterit : or + or 
2>— or :+ or :—+ or := The commonest collocationis + (note) 
== OF FF 


72 Fohn Williams White 


V or & (italic) signifies that the note is found in V or R, but that 
its form has been changed. The change in form ranges from slight but 
essential disagreements to a complete change in the expression of the 
idea found in the older mss. 

It should be observed that the compiler of the notes in U often bases 
his note unmistakeably upon one of a set of notes in the archetype (all 
written in explanation of the same point) which are preserved also in V, 
whereas R has another of the set. In this case the transcript indicates 
that the note is related to the note in V.” See the notes onyoeeu7aaa2 Ge 
LOOs FO PowAne tes 

The note in U is often a continuous combination of notes which 
presumably were separate in the archetype, since they are preserved as 
separate notes in V or R. For combinations of two notes, see 102, 189, 
276, 447, 463, 465, 530, 534, etc. For a combination of three notes, 
see 705. Such combinations are indicated in the Transcript, so far as 
possible, by the insertion within the note of an upright line. 


TRANSCRIPT OF THE NOTES 


Fol. 175' (vv. 1-18) : — 


I ‘OpOnv KeAevers ...) 6 TOV KoAOLOY KpaT@Y mpos TOV KOAOLOV 
gyno. VL 
2 dvappayotns) mpos Thy. Kopdvyy noe) t Kopavy 


3 mAaviTTomev) tAavOpeba VR 

4 addXAws) patnvy R Tpopopovpevwm) Sevpo KaKElae ATO peTadopas 
Tov otnuovos VR 6 dev) mr€ov attiKoas VR 

8 drocrodycat) amoKpovoa apavioar V IO évrevOevi) elpwvera 

II ov) dv...) Tovtov ws Edvov dvaBadXAovor Kal TAGdVOV Tas Od0vS 
ywwoKey' ot yap E€€vor padrdAov taace tas dd0vs VR 

I2 ov pev...) mailwv pdyaot Tovreote tv eis TO olpor dd0v Badie VR 


\ \ , lol e \ an 4 
I7 Tov pey...) Ovacvpe TOvTOV ws pLKpov TO copat. V 


Fol. 175" (19-81) : — 

26 BpvKovo ) Tapa Thy Bopav oiovel BoptKouca 

28 és Kopaxas) maile evel eis Ta Opvea BovAovra €dXOciv V 

30 év Adyw) ev TH troére 

31 Ext. ante v.] caxas 6 axéatwp* ovtos Tpaywoias TounTns* éKaXeEiTo 


d€ caKkas dua TO E€vos elvar* cakes yap €Ovos Opakixov V R 











Tzetzess Notes on the Aves tn Codex Urbinas 141 73 


35 Ext. ante v.| aro petadopas tov épvéwv Kal 7o dudoiy rodoiv 
€k TOV dpvewy' audoty mTepoiy VR 
37 peyaAnv civac. . .) diacvpe Td Pircdixov Kal tTHv cvkodartiav VR 
\ : a 5 \ 
43 Ext. ante v.] 7 tva Qiowow drov péAAwow oiknoa* 7) pds aroc6- 
aA 3 / 5) 3 \ 9 XN \ ~ 3 X , ds XN 
Byow TOV Opvewy’ ayTt OmAov pev TO Kavody*: avTi mEepiKedadaias dé THV 


XUTpav* Tas puppivas b€ mpds auvvav VR 


44 ampdypova) araépaxov 45 Kabidpvbevte) Krticavrtes 
46 6 d€ orddos) Kal % Topeta 52 Opvea) aAN eioiv BSAAov 

59 mowoes TL) Sevov KOTTELY) els KOTTELY) év TO 

63 ovTw ‘oTt...) mpaypa* ot dpviOoPnpar V ovde KaAALov 


Acyev) ovde A€yerv Ge TOTO KaANLoy éoTiy OTL écpev dpviHoOnpar VR 

65 Ext. sig. sup. trodeduws |] erAace TO ovowas ALBvKov Se ezel ol 
AiBves BapBapor Kal deror 7 eret rodAvopvis 7 ALBin VR 

66 Kal pnv pov...) dite awerarycey ws opveov VR 

68 Ext. sig. sup. ézuxeyodws] Kal Tovto ws dpvifos emake bia TO 
haiverGar atts 76 oxkOp VR 

69 aAAa ov Ti Onpiov) deov eireiv Opvis* Tpds TO Tepactiov Se El7eE 
Onpiov VR 

70 Ext. sig. sup. y7T7Ons | érel 6 ATTNOEls GAAEKTPYHY akorovbed TH 
vevuxnxote VR 

76 dadrnpikas) parnpe’s AywnVY THS atTiKns VR 

78 érvovs) a0apas VR Topvvys) TO KiVnTHPLOY THS XUTpas V 


Fol. 176' (82-143) : — 
82 ede...) ceppos cKwrnKkodes Cwvqiov’ pyKOdes TatTa ve“ovTat 
Ta dpvea VR 84 oa) jpdav 
85 Ext. sig. sup. xak@s] mpos Tov Yeparovta Tov Eroros Neyer cioed- 
Oovra Kai Kexnvota VR 
Q2 avovye THY VAnV) THY TVAnV 7 Séov ecimeiv THY Ovpav: GAN eel 
év vAas of opus VR 96 néacw) mapeyévovto 
IOO TowatTa pevTor...) €v yao TO Type TomoKANs eroincev aiTov 
atwpviOapevov Kat THY mpoKvny VR 
102 woTepov Opis ...) emake Séov cizeiv avOpwros V | [ int. sig.] 7 
TO yeviKov eimwv, eita éeryyaye TO eidiKov 7 
2 , / » > 7 \ 4 \ \ A 
104 éeppvnke) tapocov avOpwros éAyjAvOe py Exwv TTEPA TANV THs 
Kepadns VR 108 ofev) aot 
a ¢€ x , 2 3’ = e NEE 3 2 
I0Q pov yAlacTaA) SiKacTypiov év aOHvais [ ext. Sig.] ovrw d& exAHOy 


bua TO év vralOpw « Kai VR IIO drnAwotal) PrdsSiKor 


74 Fohn Williams White 


III odAtyov...) Tapocov ot aypouxikot purdduco. VR 

113 €vyyeverOar) cvvopirAjoa R 

123 Ext. post. v.] da 7d tpayd % ard twos Bacirews Kpavaod VR 
124 mpocpopwrepav) Avortedeorépav 

125 adpictoxpateicOar) Kai €xer aptotovs Sypaywyovs V 

126 Tov oKedAlov) viov: dite éX€yeTO apictoKpatns VR 

131 ows) %€dnoov 132 é€oray) evtpemttev 
135 TarauTwopwv ye TpayyaTwv) TpvdyAGv KaaGv mpaypaTov 

139 © otABovidn) & Aaprpe aro Badavetwv kexadromicpeve VR 
I41l ov mpoonyayouv) mpos eavrov V R 

142 ovK wpyiTédnoas) ov To dpxewy yyw VR 


143 @ detAakpiwv) Kat aKxpav Sedée TOV KAKOY) TpYdynrdv 


Fol. 176" (144-204) : — 

146 avakiwWerar) dvakier 

147 Sup. sig. sup. ewOev] yyovv eis xpiow dvo0 joav ves Tapa Tois 
dOnvators tmnpétioes* Tapados Kal 7 cadrapivia’ ov 7 cadapuvia Tors 
épxopevous eis Kpiow Hye 7» O€ mapados VR 

150 Int. post. v.] e& dkoys pabwov R pedravOros 6 TpayiKos Kopw- 
dcirat NeTpOs Kal KaKoTpaypnwv V 153 Xp KaToukely) Spas 

156 ayapis) dxapitwros Ext. ante v.|] ovvoixnow: dro petapopas 
tov eviowv ipatiwy Tov trovpyovvTwy eis Tpifw Kal hopeowy roAdOv 
xpovov' és thy tpiBnv VR- 

158 adeires) aréxoWas Ext. sig. sup. xuBdnAiav] tov éx Tov apyv- 
plov pvmov* duoTe b€ Kal Ta vopiopata KiBdyra A€yerar’ KiBdnAov Kupiws 
OTL UO KLOS OednAnpevov VR 

159 AEvKA cHonpa) PAA épvOpa ois oTEpavovyTa ot vuypdion VR 


162 ded ped) Oavpaotixkov VR 164 0,71) els 

166 ws) ore 167 Tovs weTomevous) 7 TEpt TOV TeTonevwv VR 
168 6 TedA€as ...) duacrtper Tov TeAca V Tadl) Tadra 

169 eTopmevos) épdrycts I7I popa) rwpéyers 

176 mepiaye...) €vOev KaxeiOey ws Kal Ta ev KiKrXw idelyv VR 


177 amovavcopar) wdedyOd 

179 Ext. sig. sup. woAos| woAov of maXaiol, ody ws of vewTEpor 
Onciov TL Kal mépas dAwvos aAAa V 76 qeptexov amayv VR 

185 Ext. sig. sup. mapvorwy]| evxeipwro. ot mdpvores eat. €ldos 
akplowy 7) Kovorov VR THeKO Ny secs) | WAL toll, 277" 

193 duhopyoerar) diamepperar R 1O4s Wad) tolnnyi7ie 








Balas NOLES On Wie es) 17 Codex Uv0tias T7l, | 715 


Fol. 177' (205-258) : — 


206 & diAtat avOparwv) ypadetar opvibwv 


209 avvope) cbpBre 210 Avoov) agov VR 

212 épov Kat oov) deter maida VR 

214 ycvvos EovOys) ewris darads typGs° mupds: EavOfjs Xwpet) 
Oppnoe 

217 édéyous) Opyvors VR 224 olov) kal ws OavotiKov 


186 Pag. sub v. 230] év Trois meAoTovyoiakois viKiay mepupavtes aOy- 
vaiol KaTad TavTwv pndiewv, eer ToTOvTOY emoALOpKnoEV adToOUs, WOTE 
Apo dvaPOeipar dua TO aroctnva aiTov TpwHnv, UroTEAn ovoav V 

189 Pag. sub schol. antec. ] aoA€uror Hoav ot Bowwrtot Tois aOnvaious 
cup BardAovres Aakedatpoviors* dia dexeAeray payopevor’ OTE ovv Oédovow 
aOnvaior cis vO amedOeiv, SyAovot Bowwreis TtapaKxadodvTes tToXwpEiv 


THs 000° V|adAXws:— Ties act peta€d mwevHots Kal artiKns elvae THV 





, \ Si Dik a 3 a 9 , > \ > N / 
Bowtiav* Kal ovx otov Te aredAOeiv aOnvaiovs cis TVOW, ei py TapeAOwor 
, , N , N , , A , 
Bowrtiav: watile, 5€ povov yap Tore di0d0v Cyntovow, otav otparevpa 

duayn* oTav b€ dXrCyou Kal eipnveKol, ovKere. VR 
194 Pag.sub schol. antec.] vepéAn eldos Sixtvov Oypatixod: ovtw dé 
\ V4 » 
TA TpoaTvxovTa wuvvov VR 
237 Ext. post v. 237) purovpmevos tHv pwvnv TOV dpvewv TpocKadel- 
Tat avra VR 
240 KoTwotpaya| Ta é€oOiovTa KOTLVov HyOVV TOV KapTov THs aypLeE- 
Aatas V 
. \ lal ¢€ / / 3 , \ V 
242° TprotuTpotioToTpiBpis) pupeitar ExaoTov yevovs dpveov Pwviyv 
243 Med. post v. 244] €Awders Torovs V 
244 Ext. post v. 245] C@ov éoriv vdacr yivopevoy buowov TO KovwTe 
tal XN a A \ \ / “ / 
petCov O€ TH TEployn’ KATA TO mevov AEVKO TEpLeCwopevov V 
245 Kamtel) éoOuere V 248 mrepoTotikiros) éxwv V 
249 Ext.sig. sup. artayas |] Ta yap Auuvwdy Kal Acia Xwpia Katafo- 
oKeTal 6 aTTayas V 252 Ta vewTepa) mpayuata V 
254 Tavaocdeipwv) TO pepiKov emt TavTwy éeTakev ode yap TavTA 
TAVAOOELPO. TO opvea W 255 dps ) cuvetos ods 


256 Kaos yvwpnv) olov veav yvounv eEnyovjevos V 


Fol. 177" (259-328) : — 
261 KixxaBat) Tas yAavKkas o'TwW dwveiv’ ETepor de Eyovor TAS 


XarKi 7H éerepa V 265 adAdAws) parny 


76 Fohn Williams White 


266 Ext. sig. sup. xapadprov] éret ai xapadpar tpomov twa dua TOV 
pevudrov perwdias Tovodytar* 7 6 xapadpids C@ov petaBadrAdpevov cis 
\ , 4 Deas > \ \ See e - An a] V 
TH TpoKeimeva’ elev EOTL TO EL TOIs wois KabnoBaL 

267 topotiys Topotiy€) 7 Cwov twos 7) Tov éromos V 

270 ovtTos) 6 exow V 

272 Ext. ante v.|] wapa tyv oivixos yevixny ouwikoes ev vrephere 

\ A 7 EN 2 \ 
Kat dowikovs | owiKovs ) €v Tvvaiperet Tuppos -V 

275 €fedpov) &AAdSazr0s Ext. sig. sup. xwpav éywv| 7 dpxyn ék 
tov codoKkAcovs VV 

276 tis 700...) 6 Koprwdns* ToodtTo. yap ot pdvtes: V | droros 
dé dua TO Tepata@des V 

278 «ita TOs...) ws TOV pydwy ert TOAD él Kapnrwv dxouvmevov V 

281 éote dirokAcous) ék Tod Kal eroros 

286 at te Onrcrar. ..) Siacdpea tov Kaddiav ws Adyvov 

288 katwhayas) opveov épvcowv Ta oreppata V 

290 ameBarte...) pifaoms yap nv V 

292 Ext. sig. ante v.] ézel of duavrAodpopodvres elyov Adgov ext THs 
kepadns Vv 290) Nid: tolyaioe 

300 o7opytAos) Koupéa etxov tobrov 201. Vide tolenn 7a 

306 Tov KoWiywv) Tv KoTTévTav bia THOp 

316 mpos ee fidrov Exwy) Gard Kowwod Td tap 

317 Ext. sig. sup. kowov| KowwdedAn tovtrectiy aAnOn Kal opadryvat 
) Ovva V 
py Ovvapevov 

318 Ext. sig. sup. Aertw cogicta| Aeroi eis TO oyicacGar V 

319 Ext. sig. sup. ov] duatapattrovra: akyKootes mapeivar vromTev- 

XN > \ 3 fd 7 

over yap adrovs d6pviGoOypas | 

321 Ext. sig. sup. yKetov] oréXexos kai pilav Kat trdVecw peyadAnv 


/ 7 > / 2 7 
TpPaywRagTos O €OTL XPNF LH OV TL ELOY YOU[LEVOS V 


Fol. 178! (329-378) : — 

338 diadhopyOyvar) SiacmacPAvat 342 €xko7y) ékBAnOA 

299 Pag. sub v. 342] 6 Gponv adxvav Keipvdos Aéyerars év 8 Tals 
cuvovoiats dmrobvioKker: 6 8€ oropyiAos Kovpets nv: StaBdAde. S€ TotTov ws 
> ~ > / \ y+ Lom 3 / / e , 
evTeA] : — avTiyovos ToUs appevas TOY AAKVovwY yypacKovTas, at OyrELaL 
Bacralovar tois mrepois’ pymote b€ rapa TO KEelpey eoynpmatice TOV 

, \ ‘ > , \ > A \ / > 

oTopyiAov* Koupers yap Hv’ pynuovever O0€ adTOv Kal TAdTwWY év Todt- 


lal \ / / y / rh 
OTQalS TO oTropytAou XM pLov €xforov TEyos } 


Tzetzess Notes on the Aves in Codex Urbinas 141 77 


301 Pag. sub schol. antec.] tis yAatka* didTe eiot moddal yAatKau 
eis Tas GOnvas* od povov yap Coa, aGdAXAG Kal eis TA VOMiopata evTeTU- 
muopevat’ €oT, 6€ apoia emi TOV paTny erLTMpEvOYTWY Ta ToS 
mpoovmapxovely’ oloy «& Tis ev aiy’mtw oitov amaye 7 ev KlALKia 
Kpokov V 348 pvyxe) oTdparte 

353 emayeTw ...) mponyeioOw ws emt roAeuov V 

355 diuapopnfa) Siacracbd 

358 Ext. sig. sup. yAavé] dia ro arrixov evar TO Cov artiKol de 
Kal avTo. V 

361 d&€0Badov) “cKevos peilov tpiBrAtov V 

363 Ext. sig. sup. trepaxovriles | povipwtata yap 6 vikias Kal 
AiO reuPOeis tro aOnvaiwy pyAtovs aveiie V 

364 Ext. sig. sup. édXeAed | eripbeyua rodeuixov' of mpociovTes yap 
eis 7woAEuov ehwvovv TO €AeAED peETA TLVOS EupeAods KIWHTEWs V 

a é Y B - §! 

369 pecoucla yap Te Tovde paGdrXov Hues 7) AVKWY 

273 0l y) ‘ovTor 


~8 bys As x) aN Soeay, e 2 § , : 
378 avtiy ) TO aitika ws ev mapadelypare 


Fol. 178" (379-452) : — 

381 Ext. ante v.] ro é&s éoTe xpyoiumov TO akovoar Huas avTaov 
éh oTw éAnrdvOacw V 

383 €acw) éotxacw V Ext. sig. sup. avay’ é7t oKéAos | trava- 
xwope V 387 7T® Te TpvBrAiwW) ov 

392 Ext. sig. sup. od gevxtéov) ovte hevyew ovTEe atapacKevacTous 
déov civar yuas VV 

399 Ext. sig. sup. évopveais | rdzos eis ov éyeveto rodeos Aaxedat- 
woviov Kal apyeov VR 401 xatadov) pihov 

A402 mapa THY 6pynv) Tapa TO SunptKov aomice KekAysevor VR 

403 KavaTv@w) Kal Kara Seitepov épornoov 

405 émivoway) oyirpoyv 406 & é€roW...) & oTpatiwtiKoy 

410 Tvxn) copPoppa Kopicer) éper 

414 kal Evveivat TO wav) eis TO Tav THS Cons VR 


416 amota...) Sanpacre 417 Opa TL) daiverar 
418 o6Tw) Kal arin 420 €xev) Stvacbar 
A421 tiv OABiov) edSapoviay 422 moTov) mavov ws) on 


424 TO THdE...) Hyovy 6 ovtpavds Kat y yn VR 


78 Fohn Williams White 


425 TO devpo) viv Ext. sig. sup. mpoBiBa]| nyovv mea Kat Be- 
Bowot’ 4» avrti tov edappola ouvpPiBala A 

427 ddatov...) ws aparov dypt Kat ppovOv tadta rAEeya VR 

436 Pag. sub v. 424 et seq.] imvos 7 Kdpuvos KataypnotiKds bé 7 
3 , 5 2 / be 0 \ A i? / ) 5) a 
€oyapa* eémistaty o€ GOydAvKos yadKovs Tpitovs yYUTpOTOdOs EKTEAOV 

, e XN / 4 \ lal ¢€ / € Y e ” 
xpetav’ of d€ ryAwov Hpaorov pds Tais ETTiats LOpipEevov ws eopov 
Tov mupos* évior O€ EVAOV eripynKes TETaTTAAWpEVOY eis OTEp eSapTaot 
Ta payepixa oxern VR 

429 Ext. sig. sup. mvxvoratov| nyouv ppovnois amo Kowvovd TO €ve- 
ott VR Kuvados ) TO 


430 kUppa) émutvxela Tplpa) eprrerpia, TauTaAnu ) Nertov V 


AZ3I KeAeve por A€yay) aiTa eyav V 432 KAVwv dv av) eyo 
A33 averrTéepwpar) petewpiCopar VR 436 Vid. supra. 

437 Tae €h olorep) éxetva 439 Siabwvtar) SvabAKHY rou{cwow 
444 diate) SvabAKnv tro 445 opvup) evyowar VR 


447 Pag. sub v. 446] ravra 6 rotys VR) ei py mavtas vKyow 
Tews év évt KpiTH Wyovv €AatTOv Te VV 

450 Pag. sub schol. antec.] €00s fv rovs ragiapyas dia KnpuKos 
dmayyévev Tois oTpaTLoTas TA dedoypeva V R 

446 ei b€ rapaBatnv) ci py mavTas viKnow V 

449 Ext. sig. sup. aveXopevous] ws Tay Todeuiwv orerapevov, 0 
KHpvs elpyvnv Kknpvoca V Le 

450 Vid. supra. év Tols mivakiols | mpoypdppyaciv év Tots vopous 


Fol. 179' (453-495) : — 

454 mapopas | mwaperwwoeis 7 evpioxeas R 

A456 mapadreoupevnv ...) nv npeis ov voodpeyv VR 

461 Int. sig. sup. ov py mpotepov | mpd Katayvecews ov Tapacmovon- 
copev V 

462 Ext. sig. sup. mpomepiparar| 4 petadopa amo TeV Ta dA€Evpa 
dupovtwv* 7 Ta paclas mowvvtwy V  mporepvpatar) nitpéemorar V R 

463 Pag. sub v. 461 et seq.] wale: worep émidetrvov Eywv* KalTou 
Aoyw péAAwv aitnv eiwxeiv V|rois yap evwxovpevors TEpieKevTO ot 
oréhavor Katawvyxovtes TO Kpaviov amo THs olvov Bepuns VR  Ssiapar- 
TEL) paddooev 475 Katopvéar) &pxfis TO TéAos 

465 Pag. sub v. 479] moAAH 7H TpoTH ereueve THS Edw XIaS* ws ert 


\ \ ~ \ ¢ e) /, / la / 4 \ 
Bods d€ TovTO Pyaiv ws ev Aapioon peycdAwv Bowv ywonevwv eote de 


zetzes s Notes on the Aves in Codex Urbinas 141 79 


modus Georpwrias: Vi) Aapwov 7d Autapdv: €yovtar yap Bdes Aapwot 
e Neen I 3 aaN “A \ 4 3 / / 
ot AuTapot 4H peyador* Grd Aapivov TLVOS VvoMEews EdpeyeDous* vEe“ovTaL 
de \ 4 3 A / A 3 / 
(O€ THY NrEpov ovTaL TOV ynpvovov Bowy aroyova V R 
486 duaBaocxa) duepyerar R 
487 tHv kuvpBaciav) thy Tiapav tov Addov VR Pag. sig. sup. 
kupBaciay | Tois pev yap adAos eos Kai éemtvypevny Kal tpoBaddAovoay 
> \ 4 4 5 - de A 5) 6; V 
eis TO peTwrov eye’ Tols de Bacirevow dpOnv 
489 Ext. sig. sup. to THs fpouns| KoxkvGev d€ dtav rap éavTo 
\ , ” / + Wake 
peETa ViKnV THS PaxNS ayn 
491 aAitapor3or) ot Eumopor R TopvevtacTiooAupoTnyol) Tovotv- 
Tes TAS Avpas Kal Tas Gomidas 
494 Ext. sig. sup. és dexaryny] ote tiv Sexatnvy eiotiwy él Tois 
rc \ 3 3 “a \ 3 / Sees + \ 
yevvnfeion Kat év avTn Ta Gvopata éTiMevTo Tois marci VR 


495 Kal Kafevdov) ryouv els dpxhv Setmvou 


Fol. 179" (496-535) : — 

496 dAymovytade) Oyuos THs Aeovtidos PvdAns R 

498 Ext. sig. sup. kayw]| adetrdero kupiws d€ éri TOV yada apedyov- 
Tov 1 Knpiov Le : 

501 Ext. sig. sup. mpoxvAwdeicGar| éapos apxouevov daiverar eis THY 
E\Adba €b © HOdpmevor KvAtoovrar VR 

503 KkateBpoxyfica) Katémiv VR KaTa. Kevov . ..) GmdGe yap els 
TO wvicacbar xpemsdyn tive 

507 Ext.sig.sup. totr dp] éore rapounta rapa oiwér: KoxkvwXot 
medious Se€* avTi Tod KOKKvyos Kpalovtos, TO mediov OepiLopey V 

511 ovK non) odK Won aTTiKds 516 Ovyatnp) 7 abnva VR 

521 Ext. sig. sup. Adurov] padduavOns yap diuxadtatos avOpdrwv 
yevopmevos Tp@Tos éexwrvoe pndeva avOpwrwv opKkovs Toveic Oar Kata Oedv* 
GAN’ 6pvivar KeAedoaL ynva’ Kal Kiva‘ Kal Kpiov' V 6 & Aaprov bv- 
TNS NV xpnopMoACyos Kal pavTis’ wpuvve de KaTA XNVOS ws pavTiKoD VR 

523 pavas) dovrovs VR 

527 mayldas paBdovs) eldos duxtvov 0 xplovow ifov VR 

528 ampyxtas) edos diuxtvov VR 

530 Ext. sig. sup. Brmalovres| KadAtotpatos avti tov WyAagpav V| 
Kupiwos 6€ BAwalev, TO TOV vroyacTpiov Kal Tov oTyHFovs amtecOar: 
didvpos S€ avti Tod KpatovvtTes azotiAXovor yap Kai KaterOiovo. VR 

533 GAX eémixvdor...) émBadrAovor ovyTpifavTes Tapa TO Kvatey 


TO dvapbeipevy VR 


80 Fohn Williams White 


534 Inf. sig. sup. c/Aguov] 7d ciAdguov pila Hdvoopos Tpds TO apTupma | 
omep év AuBUy yiverar’ Oepareve O€ woAAG* EoTL SE ToAVTiUNnTov VR 
535 KaTayvom eTepov) Cwpov mapa TO yxeecOar* yAvKy d€ pediTe 


dedevprevoyv VR 


Fol. 180! (536-573) : — 

538 Sup. sig. sup. womrep KkeveBpiwy| Kata évadrAaynv veKpipaiwy ws 
Tov Ovycipatwv Kpe@v’ worep KeveBptwv* morKtAoTEpas aptYcews’ V Le | 
n KeveBpia exdAXovy Ta Ovnoipaia V 

539 moAvyaXerwratous) Avaypo’s yadreYor Svvapevovs VR 

540 ows) Atav 541 kakyv) tadatrepiav 

546 dvabels yap) avatiOnur VR 

547 Ta Te veoTTIA) eve Kal Ta TeKva pov avatiOnui co. wore di0l- 
kev VR 

549 Ext. post v.] xataBo@o. Tv Tatepwy arodvodvTwv THY Bact- 
reiay V 

550 Ext.sig. sup. evar] pilav ddetrere Todw Exew| yns Kal ovpavod VR 

552 Ext. post v.] kat 7 BaBvov S€ mrAWOwyv brtav éxticOy Kal 


avTl Tov you aodaAtw ovvedeOn* 7 TEewtpapis S€ aiTny exticey VR 


555 pn oo) ovykararel ocvykataveton yvwoipaynon)  Svadéberau 
LoyotpiByon 
556 tepov) péyav Tpwvoav ) mpodéyerv GIrevTrely ) Gmrayopetoras 


559 Ext. post v.] dAdma Kepxvovos Ovydrnp: | nvEnoe b& THv dia Bo- 
Anv 8a Tov TANnOvyTLKOD V 

562 TO Aorov) po Tov Geov R 563 mpoveiwac0a) mapacxeiv 

565 Ext. post v.] @adnpis dpveov Aysvaiov evrperés VR 

566 vyttn) érel évvdpov To Coov VR 

567 Ext. post v.] 8a thy a88npaylav tod tpaxAéws ele Tov Adpov 

568 Ext. post v.] dua Tas porxyeias Tov Anpov dis elme TOV: dpyiAov 
VR 569 ceppov évopxnv) A€yeTar Kal KpLos 6 céephos VR 

572 ol meTopefa) Tapépartwcts Ext. post v.] mrépuf Déyerar 7d 


ddov: amrepvé S€ TO GKpoV 


Fol. 180” (574-605) : — 
575 tpi) Gyyedos tOv Cedv 579 dvaxawar) gdayeiv R 
580 petpeitw) mapexero V 


581 otk eAjoa pa dt’) Si8dvar wupots 582 KaTapovor) dpotprodcr 


Tzetzes's Notes on the Aves in Codex Urbinas 14m 81 


585 drod@par) Toqrw 


590 kvizres) los fwvdiwv piKpav 591 dvadéeEa) cvvage 
594 Kepdareas) émxepSeis KaTepovat) aKptBds 
595 TOY vavkAynpov) amd 597 é€oTar) yevqoerar 


598 yatAov) yadtAos dowixov wAoudpiov VR KT@paL) ayopdate 

6o1 Ext. ante v. 599] tapoupia: odfeis pe Oewped ANY 6 TepiTTdpevos 
dpvis: 7 GAAws: ovdels olde TL wWpiAnoa ANY ye a TIS Opis: éeA€yeTO 
dé éxl tav amroxpvpov VR 

602 Ext. ante v.] ézet év tdpias ExewvTo of Onoavpol Ta eyopueva 
rap juiv Oncavpapia VR 605 arexvas) dAnPds 


Fol. 181’ (606-658) : — 

606 «is ynpas ...) wyovv eis roAvxpovotyta POacwor VR 

607 amobvycKey) Tov avOpwrov 

610 Int. ante aiBot] Gavpacrixoy émippnya ws) Alav Hiv) jpev 

611 7oAA@) Kpelrroves Tod Stds 615 aAX td Oduvors | KAdBors 

618 éorat...) OTe evpyua Gedy aOnvas yap V 

619 Ext. post v.] ABuxds Beds 6 aupov VR 

627 peraniztwv) petaBarropevos cis dirtav VR 

628 adetuny) xwpicbetny 633 los) A@ors 634 Evvwdad) Spore 

635 tpifev) ws ext ecOytos V 636 rera€dueO’) avtirapa 

639 Ext. postv.] vixias: vids dAxiBiddov V R| Bpadds dé nv eis Tas 
dueEddovs 610 Kal duaBadrrAcTar VR 

641 Ext. sig. sup. eis veottiay| mapaxeXeverar aitovs eis THY Kadlav 
avtov VR 642 mapovta dpvyava) éx mapadAnAov VR 

645 Opynbev) Shuos THs oivynidos VR 

648 7d deiva) Adyrov Ext. sig. sup. éravaxpovoar| éravadaBovra 
Tov Aoyov' ézavaxapuiyar eis TovTiaw' VR % petahopa, awd tOv Tas 
jvias dvaxpovopévav: ézavakpovois b€ éote Kupiws TO émicyxeiv THY erEpXo- 
phevnv vadv pe dpuns eis Tov Oppov iva py tpoceAPovca Opavobn VR 


7 né 
652 tv addwrex 653 PdAatpws) irtkds padios 


Fol. 181" (659-703) : — 
660 maicwpev...) ovyxopevowuey avtTn VR 


661 @) trop TovTo) eis 663 avTov) TomKov 


667 ws Kadov...) €rapidiov poco. KexadkAwmiopevoy VR 


82 Fohn Williams White 


673 amodgfavta) micavta V 677 iAtatn) eipopdwraty R 
680 HrOes wpOys ) TavTa mpds éavTov A€yer 6 Apiorohdvys OTL TH éapt 
évy gore. TEeAOvGL TA Stoviaoww VR 


682 Ext. ante v. 686] yovca AaXrodoa kupiws d€ TO THY Kapa 


kpovey VR 685, aye o) ...) mapdBacts 
687 TaAaol) Kapreprkol 692 70 Xourov) peta Tatra 
694 yn) od 696 mepiTeAAopevais ) TeprepXopévats 


697 «ikws ...) €o1Kws Tais TOU ave“ov wkeElats cvaTpodais V R 
717 Ext. ante v. 698] pavrevoapevor yap mp@tov éx TOY dpvEewr, 
e SN \ y = 
oUTws éml TA Epya xwpeite VR 


699 éveorTevoe) eyévvnore 703 €pwros) Aeire viol V 


Fol. 182' (704-747) : — 

705 Ext. sig. sup. moAdovs]| dior. defiad aivovrar mpds épwras: | 
dmrotagapevous | Tois epactais peta veoTnTos* 7) mote Tov Kaipov VR 

707 Tepolkov Opvw) adAextpvova VR 

712 Ext. sig. sup. era 8° épéortn| dépeorys paviay broxpwvopevos €v 
T® oKoTE Tors avVOpwTovs amréedvey VR 

713 Ext. sig. sup. txtwos]| év 77 €XAddu Eapos aiveras ixTiwos OTE 
Koupevetar TA Opeupata VR 

715 Kal Andapiov TL) O€pratpov: % evTeAes iwatiov VR 

Tig Vil, tok, TOi 720 opvi0a) oiwvov mpodytnv VR 

721 Ext.sig.sup. €¥uPorov] 7a rpota Evvavtypata exarovy oypeEla. : 
V |\érei rodddnis ciwOapev twas tOv Oeparovtwv Kakorodas AEeyew* Kal 
KadAowwviatous VR Pag. sub v. 722] A€yerar yap ti ToLwovToy ws 
aupBorrKOs epwTwmpevos Tis mEept appwoTov, eEldey Gvoy ek TTwWpaATOS 
dvactavta akynKoe Oe étépov Eyovtos: BAEwE TAS OvOS OY aveaTy* 6 
de, €n* 6 vooav dvaotyceta VR 724 €&ere xpnoOar) Svvnbetnre 

729 Ext. post v.] vedeAnyeperns yap V 

732 mAovOvyieav ...) €k TovTOv Eudhacw cidapmovias éeudaiva VR 

733 yeAwTa) Xapav . 

734 Ext. sig. sup. yaAa] mapounia ért Tov Alay edvdaovovytwv VR 

738 povoa...) won nToL oTpody ws ard Tov Tonrou VR 

744 €ovOys) Aeris 

745 Ext.sig. sup. wavi] émet vouuos 6 Oeds Kat dperos Kal TOY dpvewy 
de évy dpecw at duatpiBat VR 

746 oepvare) tH pea R xopevpat) Aelre dvahatve 


Tzetzes's Notes on the Aves in Codex Urbinas 141 83 


Fol. 182" (748-796) : — 

749 Ext. ante v.] Gpvvyos tpaywdds rountns VR ard tov éuov 
Tmounuatwv VR 

753 « pet...) émippnya 754 dvarAckey) Sidyew 

759 Pag. sub v.| zAnKtpov dAov auvytnpiov 7 petapopa azo TOY 
GXexTpvovwyv* Kakelvor yap €xovor TANKTpa év ois paxovrar VR 

761 Ext. sig. sup. drrayas | épvs katdotiktos troukidois mrepois 

763 Ext. ante v.| S:aBadAovrar as dptyes kal Serdoi 

765 vodtw) Kal Sagkdrw Ext. ante v.] wamos opveoy Te 7pds TO 
évoya ovv mailer: ote ei avaBdas Tis Tpos uas yevvnoe Tammovs ee 
G7odekvivar Ppatopas 6 é€oTiw ovyyeveis VR 

766 6 musiov) vids VR 768 éxzepdikicar) tmovnpeboacbar 

769 Todvde...) dvTwd4 

774 €Bpov) Opaxyns motapyds év ToTapiows yap Ta Opvea VV 

781 dvaxtas) Tovs Oeovs evOev kai avaxtopa Ta iepd VR 

783 ézwdAodAvéav) eddyunoay VR 785 ovdev...) dvrterippypa 

787 TOV TpaywoiOv) ws paKpOv bvTwv ToiTwv V RL 

789 édb pas) eis TO Péarpov 790 yxelnti@v) xeoas yap édAeyero V 

791 e&idicev) e€etiAnoey areratnoey VR 

794 Sub v.) rozos dvepevos tois PBovAevtais* Kal 6 Tols épyPors 
égy Pixos VR 796 Buwycas) you pryels cuvoveiacas 


Fol. 183' (795-858) : — 

796 Bwyoas) cvovetdcas et supra Biv, cvvoverate 

798 mwutwaia...) THs TiTUVNS EXwV KpEudueva tpwaTadpia TO Tpa- 
xjrwo 7 S& mitivyn TAEypa eat VR 799 7peOn) mpoeKpiOy 

803 Ext. sig. sup. wxurrépos | Tay rrep@v Ta pev KaXreiTar TTiAa* 
va d€, rrepa, Ta O€ WKITTEpa VR 

805 xvi...) evTeAGs yeypapmevw xnvi VR 

808 rad’ ody...) Fyouv 6 xhv Kal 6 Koixos 

810 Ext. post v.] zapadofov 6 otk wvouactar rote Ttois Opvice VR 

816 yxapevvy) TH cdtedel Kelplav Exwv) €l7w TovTO TO Oovou«a VR 

822 Oeayevouvs) éx Tevias tAovowos éeyeyovee VR 

823 azmavta) eel Kat A®oToy...) miotevey aiTd 7 as TO VR 

824 To préypas wedfov) Ext. rediov THS Opaxns VR 

825 Kaburepynkovticay) d<ov cireiy Kateroheunoay VR 


826 Aurapov) Aaptpov 


84 Fohn Williams White 


827 moXrodxos) idag T® Eavodpev) ows ot &bnvator 

828 odiada) pvddkTprav 

831 Kkrecbevys) ovTos ws yuvarkadyns Kwpwoeirar VR 

832 KabeEa) pvddge Ext. post v.] eis tas a@nvas Teixos meAap- 
yuxov év tT axporoAa VR 

835  veorTé...) mailer mpos Tia maida veorTov KaAovmevov V 

836 Ext. sig. sup. oixeiy| kat tovto maile. éret Tpayd TO TEAGpYLKOV 
Kat metp@des V 

839 Int. ante v.] xupiws d€ dpyaca ro muco@oa VR 

839 azrodus) éxSv0eis épyacov) padragov V 

842 Ext. post v.] of rods vAakas yap mepicxorovvTes, Kwdwvas 
éepopovv VR 

844 Ext. sig. sup. erepov | émet petagd yns Kat ovpavov éotiv 6 anp 
VR 846 otpwle) avtr tod Koria of) kal Srrov 

849 tepea. ..) ropmevcovta tHv ynobvoiay RK 

850 atpecOe) émaipere 851 dpoop0§®) cvykatavetow 

852 ovpmapaiveras exw) cvvawe cvykaratibels 

853 Ext. sig. sup. mpocddia ] ovTw yap €eXeyov Tas tpocayomevas TOIS 
Oeois rou7as VR 855 mpooetr) ov 

857 mvOias Boa) nyovy avAntys yvrAovv yap év Tais Ovoiats VR 

858 ovvaderw...) ws adropatws émiovTos aiTov Tais ebwxtais, Tal- 


fa avtov VR 


Fol. 183" (859-030) : — 
861 Sup. sig. ante v.] €ovxey 6 addAntyns dvecKxevacOar es Kopaka* 
, / 3 \ \ vA a / A 3 A , 9 Q 
hopBiov b€ éott TO TEpikeipevoy TH TTMpaTL TOV aiAnTov Sdepua iva py 
oxic0n TO xElAos avtod VR 
869 Ext. sig. sup. & covvépaxe| eel epi opvidwy 6 Xoyos avTi Tov 
/ - u be > 6a \ a4 \ Nias? o 
covviapate* gaiverar d€ ecivar moced@vos TO émieTov Tapa TO ev TO. 
govviw akpw THS aTTiKHs Tas evxas déyerPar: VR| rerXapyiKe avti Tov 
meXacyiuKe Le 873 axodavbis) erwvupov THs apteurdos I” 
873 Ext. sig. sup. axoAavOis | KoAavOis: «idos dpveov Aé€yerar b€ Kal 
¢ / \ \ > / 7 \ i e lal \ \ 
y Kvwv Tapa TO aikddANEv tows Tors yvwpimovs vtraKkTeiy SE ToS 
Eevous VR ; 
874 Sup. sig. sup. kat pvyiAw] Kat dpvyiAw: — mailer mpos To 
4 ° e 4 \ / fo) oy XN € / ‘ 
dvopa* eer ot Ppvyes Tov GaBaciov Tinmow: ect O€ 6 didvvTos* TO 


yap ebalew oeBalew A€yovor ot BapBapor V 


getzess Notes on the Aves in Codex Urbinas r4% = 85 


875 Sup. sig. sup. kat otpov0a] orpovfoxaynrw: Erale bua TO pe 
yeOos TH pea ta’tnv eikacas V 

877 Ext. sig. sup. kuvBédAn] KvBédrAnv dacit thy peav ba Ta KUBedra 
opn* dpeta de 7 Geds:— 7d S€ pytynp KAcoxpiTrov, diuaBadrAe aitov ws 
atpovdoraida VR 

879 Ext. sig. sup. airoior] duactper tovs abnvaiovs: of yap abnvaio, 
y e coal X\ \ cal , a 7 5) / > \ > A - 
NUXOVTO EavToIs TE Kal Tois xios* VR oOray érotovy edxyas év Tois Bevis 
d.dovar ayada Kal éxetvors Kal attois V 

Y 


882 eXexavtr) medXeKav TeAEKGVOS KOWWMs* TedeKGY TEXEKGYTOS ATTI- 


Kov meXexas TeAcKa dwpixov VR 892 otxorl’) ropevbein 
894 Tovtovi) Td tepetov 896 de pe) xpela trdpxe 
897 xéepuBr) tive 899 eva Twa) GAA 
go2 yéveov . .) €mt TOY lepeiwy TOV pn EXOVTWY Gapkas a7 Tapol- 


pias ws el EXeye Tpixas Kar kepata VLR 

908 ies) méprev 909 OTpypos) Taxis 

QII Kwpnv €xes) TOV yap éAevOeépwv HY TO Koay VR 

915 dtpypov) teTpuTHpévov Andapiov) twatiov VR 

g18 Ext. ante v.] ra tv attyy trobeow éxovra VR|H avti rod 
mawavas* KaTatexva Toutha AAa pvovs V7 


923 Oeunv) €Oyxa [ ext. sig.] é€v 7 dexdtn yap eOvov Kal ériOovy kal 


Ta dévopata tois maoiv VR 924 gatis) dqpy 
925 olamep) oroia immwv) Tivev dpapvya) 7 apapvye ) 
Kivyo ts 


929 Sub verb. xepady| 7H Kepadn éezivevovow ot Bacircis VR 
930 ddpuev) Kal 86s Int. post v.] duacvpea tov rivdapov VR 


Fol. 184' (931-995) : — 

932 amoderfgovpeba) debyw ded—w artikov: gdevyotpar Se SwprKdv 
933 amordda) dupGepav VR Exes) opets 

940 Hpav) ad amahAaxOnoerar) devdepwOqcrerar 

942 dXarar) mAavarar 

943 ov wemata) od Kéxrnrar é od Kal ToAUTGppwv: KéxTHTAL 


951 Tpowepay kpvepav) dia TO acrypixtov* dite é€v TH adn TO TAG- 


cpa THs oiKkodouns VR 953 dAadAay) povorkiis 
957 mervocGa) pobetv 3 958 ov) © teped VR 
959 cvdynpt éeotw) Thy dx 
962 ws) or avtikpus A€ywy) alviypatwbas A€ywv 


36 Fohn Williams White 


966 GAN ovdev. . .) Aelrrer euroditer viv 


968 é€v tavTO®...) puseitar TO dovvapTntov TOV xpnopoav VR 
969 Ti ovy zpoonjKe) peTovoia tmdpxe 971 mavdwpa) TH 
973 dopey) tmapdoxopev 975 omAayxvwv) KpEedrov 


978 Ext. sig. sup. aierds] ody arA@s rovTo GAN OTL xpnopos HV 
Tois aOnvaios dedopevos TocoiTov avfyOynoecOar doov aieros TOV aAAwV 
dpvewy év Tais vepédAats tpovye VR 

984 ordayxvevev) orrayyvwv petadaBelv V R 

987 Ext. sig. sup. kat geidov] pyre dyno édv aitos 7 6 AdpTov 
eidov attov édv Aeyyn OTi Kal ws aeTos yeryon VR 

988 Xdutwv) ypyoporoyos VR duomreiOns ) Kal ovTos xpyopodo- 
yos V 991 €repoce) dAdAaXSbr 992 Kw) APov 
- 903 Spacwv) pAdwv mpagta 994 6 KoOopvos) 4 émivora 


Fol. 184" (996-1063) : — 
996 duerciv) pepioa 
997 Sup. sine sig.] dpiotos yewmerpyns 6 perov VR 


999 Kavov depos) Sav e€rotor 1000 tyv ideay) Kara 

IOOI Kata 7yiyea) Kata dotpve 

1005 6 KvKAos ...) mailer ddvvatov Tov KvKAov yeverOar TEeTpAyw- 
vov R Kav peow) Kal ev TO pérw KiKAw 


1009 Ext. sig. sup. avOpwros Jurys] duaPeBwnuevos yewperpys: ets 
Tov éxz7a dirtocoduv’ VR Gadrys Badov: Kat Odrys OarAnros V 


IOIO petwv) ® IOIL wUmramokiver) vravaywpe VR 

1013 €evnruTovvTar) SrdKovrar ot Eévor 

TOI4 ovyval) mu«var pov otacialete) eis aAAovs paxerOe, KR 

TOT5 opoOvuadov) pod 

1016 ozodciv) turTev R doxel) tots troAtrats 

1018 POaves av) Oaons avrau) at mAnyat apa Oe TvmTE 
autov R IO2I ov mpogevor) mpodexopevor Tovs Eevovs VR 

1022 Kvapw ayov) KAfpov evpav - 1025 rt BovAa) Karari 


1028 Ext. sig. sup. dapvaxn| otparnyos wepc@v 6 dapvakns* ada- 

\ > / 4 4 rho se) 7 / \ \ 

Zovixds obvy oKwmTeTaL Ko-wviay éxew pet éxeivov V R| railes mpos 70 

pylev R 1029 ami AaBwv) tattTa dyoi RK 

1032 ovK drocoBynces) twéppw tmrdyes 1033 ov dewa) éort 

1035 éav 6 6...) nADev 6 WhdiopatorwdAns V aOnvaiov adiK7 ) 
Ti péAder éxet iva yer 1042 oddArodPvéwor) vos 


Tzetzes’s Notes on the Aves tn Codex Urbinas 141 87 


1043 olcimep) ékeivors Tots pérpois 1046 vBpews) evenev 
1052 ypadw) Kkatnyopa puplas) eis 
1053 duacKed®) StackoTicw 1058 dn por) a8y Aro. ctpopy 


Fol. 185’ (1064-1130) : — 


1065 ék kaAvKos aigavduevov) KataypnotiKas 7rav BArAaotnpa VR 


1067 ot) ékelvous 1069 daxeO’) Onpia 
1072 Int. ante v.| érippnua V ETAVAYOPEVETAL) KNPUKEvETAL 
1073 wpav) ad TOV pnALtov) Tov aBeov 


1074 Tis Twa) ovyyen TovTwv: adeAXdhov 2& adeAdov VR 
3 ~ a 3 e cr , , ~ 
1076 dvemreiv Tatta x cis) Sebtepov cxéow Sndoi 
1077 Ext. sig. sup. g@iAokparny| tpia yap atrovs Ave OTe Onpever 
OTL TwAE* OTL ExTa TOV GBodAOdD ws ed’TEeAtLwy aitois VR 
1081 Ext. sig. sup. Kowixyos | of Koryo. yap ws wToKodvTes KEvTODGL 
Ta wa* ot ovv dpvioFjpar wrepa aitois éuBarAovor pds TO auBAdIVaL 
Ta papdyn TH padraKoTynTe Tov trepav VR éxxel Ta TTEpA) EuPBadr- 
Aa eudhavtikov TAWGovs 75 éyxei VR 1083 7zadeve) Ktveior Par 
togg Ext. sig. sup. wapQewa] dia TO eéripedXds Tas mapbevovs Ta 
pupta éeoBiav VR 
I100 xapitwy TE...) TA KEexapiTwpeva avOn VR 
I104 wote KpeitTw...) Tod mapidos a €AaBe rapa adpoditns VR 
1106 Ext. sig. sup. yAatxes] dvtt Tod vouicuata’ 4 yap yAavé 
Gpveov éotiy GOnvas* omep avy TimovTes AOnvaior dia THY Gedv, ev Tots 
e / 3 4 
TeTpadpayuos évexdpatroy VR 
Il07 ev Te Tois Badavtios) aivitretar TO Pirapyvpov Tay aOnvaiwy VR 
TIO8 KakAeWovar) yevvarover K€ppaTa) vopicpata 
Ps : € val WER \ > cal - 3 if \ 5) 
I109g Ext. sig. sup. tepois] dua Ta €v Tois vaois deTwpata* Ta els 
7as oreyas yap €vAa rTepa Kai deTov’s Kadodor VR 
III apxiduov) &pxhv 
I112 6fv...) dua 7d dpmaxtikov nyovv apmaynv agiav VR 


I113 Ext. sig. sup. qv d€ zov] Kupiws tov dépvidwy 6 oicodayos 


azo Tov cvvabpoilev exel THY Tpodyv VR Tpnyope@vas ) *youv 
treiotTas Tpodas III4 pyvioKovs) Teptkepadaias 
III5 dvdpiavtes) ot ws) ote DUO) ah Lyvyny) TepiKkedpa.- 
Aaiav IIIS ra pev tepa...) Ta ev Tols Ovpacr cipBodrc(a R 
—T1£9 @AX’ ws) Tas II120 oTov) ad ov 
EI2I GAN ovtoot...) ov doxel por Kadov' ovvTomov’ 6€d° Tives 


0 aAduiov azo Tod wapapéovtos V I123 ovrociv) éya 


88 Fohn Williams White 


II24 €€wKodduntal cor) lav exrioOy 
e 9 , aA Q 5 , A , 

1126 Ext. post v.] €« tovtov microvvrat TO advuTootatoy Tov TELyous * 
2 \ Nes \ \ \ 2 e / 
éreloy KATTVOL OAV Kal KOMTATTAL’ Ki wovov Urocxeors VR 

- e 
1129 mapeAacaitny) Siodevcairny 
iA ~~ 

1137 Ext. post 1130] dia yap ro év wwe mérecOar Kal TH eis evOd 

A , 

Opn thy ért Ta KaTw Oeay eprodilecOar AMMovs Bacralovow: dws 
f / er 5 \ +” / STEEN aA \ S2aN Y, 
KALVOVTAL TTYTEL pimTov* Kal atoGouwTo woTEpov emt yns H emt Oedao- 

/ \ 2 X a eN / , \ eQvr > SS ye 
ons PéepovTa’ Kal ei pev emt Oadratrys TEeuvovor THv ddov° «i de emt 


yns avaravovrar VR 


Fol. 185" (1131-1198) : — 

II13i @ ome TOU paKpous) elkétws Tov ToTEdava Spvvor Bia Td pAKOs 
THs Padacons 

1134 Ext. sig. sup. wAw@odopos] éxwpwdotvto yap ot aiyvmrion us 
mAwOopopa VR 1137 Nid. folkmeas. 

1138 érixilov) trafov II40 é€opovv) epepov 

I142 épwoiol) é€ale dia TO mapayerOar ard ths épas VR 

II145 ot xnves...) Oa TO wAaTVrodas THY aAAwWY padAov evaL 
avtous VR Tais auats) Tots mrvors 

1146 Ext. sig. sup. és tas Aexavas]| Aexavy Kowov' mapa TO dra 
€TLTATLKOV [LOpLOV Kal TOU Kaivw: TO dé atTiKOV AExavy VR 

1149 Tov Uraywyéa) Uraywyeds GLdnpovty TL mTvIdLov V 

II50 kKatomw) Kal kdrwbev 

T1159 Kat BeBudravwra) Kexredwrat VR 

1160 édodeverar) drodeverar VR Kwowvopopeitar)  TaV pvdAdKwy 
ppovpa Soxiralerar VR 

1161 Ext. sig. sup. dpuxtwpiar] mapa To PpvKtos Kat TO wpevev’ oO 
dnAov TO dvAatrev V 1163 dpa) mparrer VR 

1169 éoOet) tpexa VR Int. sig. sup. wuppixnv | evorAov moXe- 
puxov Tl évorrALos yap Opxnois 4 mupptxn VR 

1173 Tov dépa) déov eimeiv és THY TOAW VR 

II74 pepooKorovs) Tovs ev HuEepa Ppovpovvtas V R 

1177 wepiroXouvs) Cytntas VR 1178 Kar) els 


T1188 atperar) Kwetrar IIQ5 TavTn) ovTws Tep@v) Svepxopevos 


Fol. 186' (1199-1262) : — 
I199 avtTyn ov) wo ip V 1200 ézioyes) KwddOnT 
1203 mAXotov) mAoiov pev Kad éerrepwrar VR Vid. infra. 





zetzes's Notes on the Aves in Codex Urbinas 141 89 


1204 wapados 7 cadapuvia) mpds TO Taxetar Ext. post v.] atrac 
tepal Tpinpers Sypmootar emt Tas THS TOAEWS XpElas TEUTOMEVAL Kal Tayv- 
vavtovoat VR 

e 7, XX \ 3 7 ~ 3 ~ r 

1214 vywuivers pev) Kal ov paivy ToadTa épwrdv VR | 

1203 Ext. sig. sup. épvifapyos Vv. 1215] mepixedadaia VR) dia 7d 
3 A , Sua las \ a oa ; 
éy TO Spopw aitys KexoAT@cbar Tov xiTava \ 


1218 Tov yaovs) Tov depos dia TO maxtoba cis azAwua R xpy 


aérec Oar: — 1220 TOE ) évTavea 
1221 apa y oiaba .. ss) ws TOD dépos moukiAas ipidas movovvtos V R 
3 4 >] 7 4 => tA > , 
1223 afias étvyxaves) Tynwpias R 1225 mewcouerO ) trovqoropev 


1227 akodactaveite) akodactTa Kal atakta mpaéyre VR 

1228 tov KpeTTOvwy) nyovv yuoav VR 

1229 vavoToXeis) tmopeterar 1233 Kvicoav) Kamvifev 

1238 xkiver) tmapacddeve 1241 mepirtvxas) dopadicets 

1242 Ext. post v.] Siétt karnPadrdbnoav of Atkipvior 

1245 popporvrtecOar) éxpoBeiv VR 

1246 méepa) tod deovros VR 

1247 ddpovs audiov) Tyouv Tas aOqvas 

1248 aupdopos aierois) Kepavvopopov yap to Caov VR 

1250 mapdadas) erage tpds THY TTépwow aitov R EVN LLEVOUS ) 
évdeSupévous 

1256 yvouat tpreuBorov) mwodAdKis ovvovciacbeicay VR 

1258 Ext. post v.] émippyjyata tia dverdacev eis TO Kakeuatov 
V\ rapa To eipews cor prynoowar Kal TO TaTagar, OOev Kal XaparTvrras 
ai topvaa VR 

1259 Hv pH ce Tavon THS UBpEews ojos TaTHp) od {@ eye 

1262 dmokexAynkapev) arynyopevoapev VR 


Fol. 186" (1263-1335) :— 
a € 8! iy B 
1264 pyde tw iepdOvtov ava Samedov ere tHde, Bpotav Geoiar 


5 G VR 


TEMTELV KATVOV 1267 ava daredov) SvépxerBat 
1268 weurev) dere 1269 devov) vopite 
6 n& 6 os VR 


X / \ \ \ \ > / > Q 7 
1269 Tov KypUKa Tov Tapa Tovs BpoTos oixouEvoy Ei pydeTOTE 
1270 oixopuevoy) daredOdvta vooTnael) erava 


1272 kataxéXevoov) eis TO yeverGar orynv VR 1276 Ti) els 


gO 


1281 
1282 
1283 


Fohn Williams White 


éLakwvopavovy) nAratovetovro wormep of AdKwves 
Sey, 2 
ExOwy) émalpovTo 


2 4 w~ Le) 
oKuTavt épopovy) avTi Tov éAakwvilov: AaKwviKov TO THS 


oxutaAns V| paBdovs VR 


1284 
1288 
1290 
1294 
1296 
1298 
1303 
1305 
1309 
1311 
1316 
1317 
1319 
1323 
1335 


6pviGouavovow) Tis Tav opvibwv epdor aodtTelas 

KaTnpav) AA®ov 1289 devenovT ) éepéprtov 
TEPLPavas) peyados 

6pOarpov ovK éxwv) povdodPOadpos Kal apa VR 


iBus ...) Opveov wAeovaloy év aiyvmTw paxpookedes VR 
elKev) €ouKev 1299 7d oTvhokopTov) vrs Tis ddafovelas 
TTEPOU TL...) HOoV avTo ev Tompate VR 

mTAnv) aWéov 1308 €oTavar) ioracbar 


iwy) €Oadv . Tas dpptyouvs) 4 appixn V 

pavns) S0tdos 1313 7oAvdvopa) avOpwrrov 
éuas moAews) Tovs avOpwrovs VR 

Garrov ...) mrTepa dprov zpos Tov SovAov V 

PQTOLKELY) OTE KaTOLKEtV peTépxer Oat 

BraktkOs) pabdpws 1331 didbes) tafov 

gov oxnoopar) aveEouar vropeivw VR 


Fol. 187' (1336-1404) : — 


1337 
1339 
1343 
1347 
1354 


yevoipav) ete 1338 orabeiny) metacbelnv 
yAavKas ...) katamdnKkTiKfjs 1342 aiBot) Savpactixev 
Ep@) émbupe 1345 Tov vouov) Siatp.Bav 


vomiceTar) vevopirpévov éotl trois 1350 merAnyn) mAntTn VR 
KupBeow) KvpBies xadxat oavides [ext. sig.] ev ats eypadov 


A aA C7 \ a 
tous voxouvs VR amo tov KexopvpocOar cis vos’ 7 amo TOV KopuBav- 


Twv ékelvwv yap evpeua V . 1360 ovde y) meion Kaxov VR 


1361 
1368 


oppavov) pi €xovTa maréepa VR 


Ext. sig. sup. éredy] ovpBovAever tois veous oTpareverOau Kat 


Q , 2 PN 4 J, 2 \ \ SRE. 
py patnv €k Tov Onpociov tpeperOar VF | éret cvvexeis éyivovto otpa- 


Tiat et Opaxyns Tois aOnvaiors VR 


1375 
1376 
1378 
1378 
1385 


TOUT’ TO Tpaypa) dioTe Eire TeTOMaL Kal TTEpvyecor LL 
apoBw dpevi) aovvavrntov TO K@AoVv tpds diaBordAnv VR 
Int. ante v.] 97 yap piAvpa yAwpov yAwpov dé Kai ovTos VA 
pirvpiov) xAwpov VR 

vipoBorovs ) tbndds dvaBoAras ) déeus 


zetzes.s Notes on the Aves tn Codex Urbinas 141 91 


1387 Ext. sig. sup. 9 téxvn]| olov vAn éoti Tov TomnpaTwov Huov F 
Tov vedeXov aiotacis VR 

1392 dmavta yap...) amavTa yap Ta wept TOV depos dueEepxopmat- 
6 vols €AayioTos ws 7 Tapoytta Kat Tov dOvpauBwv voy Exes éAaT- 
tova VR 

1395 Ext. sig. sup. dda] mwapaxeAcverar ait® ravoacbar Tov dade 
ws ot épeccovtes VR 

ov 

1398 roré péev...) TovTo A€ywy ayu Taiwy aita VR 

1402 mrepoddvytos) mrTEpois ANXGeits R 

1403 KvukALodiddcKadov) nyovv Tov OBvpauBorowv VR 

1404 gvAais...) éxdoTn yap pvdAy etpede SiOvpapBoroov VR 


Fol. 187" (1405-1467) : — 

1406 Aewrpodidy) dSiOvpapBorrords Kovdos VR 

1407 Kekpomida) tod 

1410 Ext. ante v.] ovkoddvtys epxetar Tevomevos Kal eis THY EavTOD 
meviav aowy’ éx d€ mpwTwy AOywv GuKOdavTEe Tos dpviOas ws évavTiov 
€xOvTwY TO TXHua THS Pioews* en Sav eis TO TXHMAa Tod TpeTBUTOV 


apopov VR 


I4Il €xovTes mrEpoTotKiAa) wrepa 1413 eeypyyopev) exwwhOy 

IA16 és Ooupatiov ...) eldos wis tapoivou 

1417 deicOar. ..) émel ai xediBdves To Eup Hépovoear 

T42t pov vO...) duTe xAaivar yivovtar éxei diahepovtear KR 

1425 Kadovpevos) Kkahdv adtous 

1426 wal) pera VR tral mTEepvywv ...) Topwtepov pci Td 
peta mTEepvywv Karey V Le 1427 ty) Stes 


1429 Ext. sig. sup. av@’] avri rov AWov: érei at yepava ev To 


/ , 4 Nv , , » , 
aTonatt Whnpovs €exovow 7 modAakis OTyplypaTos EVvEKA, TEpLpEpovat 


AlGovs mpos TO py TEepipeperOar aveuos VR €peatos) oTyplypa- 
tos VR I43I veavias) qyouv vewort 
1442 devas) émrmfbeiws 6 dutpedyns) mitwomAcKos ov 6 dSutpéedns 
yeyove PvAapxos VR 
1444 6 O€ Tus) aAAos Tis R TOV aUTOU) bmoKpiTHV 
1450 TpeWar) KAtvor 1453 GAAa mrepov pe) ev Suvdper 
1454 tepaxos...) émel apmaxtixa Ta Coa KR 


1455 €YKEKANKWS Sie ) éykAnpa kar avTav ypawdpevos Bpabdurijros 


Q2 


1459 
1461 


Fohn Williams White 


TAG) Trebor 1460 mavt éxes) eyvwxas R 


BépBucos ...) orpopBis ny ot aides pacrilovres orovor © 


mepiotpepecOar VR ovdey) Kat 


1463 


Ext. sig. sup. KaAAtcta] d€yeral Tis Kepkupaia paotiE mapa TO 


/ las \ / 2 3 - e , 7 a 
oTacvacev OVVEKWS Kal TeTOAATE TAP QUTOLS y pacts ° WOTE du7rAats 


xpnodat 


peydras Kal é€dXehavtoxwras VR KaAAoTa . . .) €im@wy 


aA - 3 \ 
TovTO TUTTE aiTov R 


Fol. 188’ (1468-1535) : — 


1474 
1477 
1479 
1484 
1489 
1493 
1494 
1502 
1519 
@tos vids 
1527 
1532 


éxtomov TL) ew Térov Kapoias) THs moAews VR 

dAAws 6€...) péyas Kat Setdds 

cuxopavte) TOTE yap éyevovTo ai dikar VR 

épnuia) nyouv ev tT oxoTta VR 1488 jv) éorw 
Evytvyxavery) cvvoprdeiv 


Tamedeeia) Ta ELA THS Hvocews Ob VR 

orws pn...) PoPotpar 1498 mnvik) nyovv rota wpa VR 
araOpiater) oKopmicea VR I513 ws akovovrTos) epot 
Ext. post v.] vmorelas efxov of Qeol drrnvixa darekrdvén 6 dArppo- 
TociBGvos Tapa TOU apEos 1523 Tdpope) ovrodoxeia 
aOev) aod eEnxeotions) Seov eireiv aroAXwov VR 

mpeo Bes) amroKpioidp 1534 o7evdncd’) prrotcbe 


Fol. 188" (1536-1604) : — 


1538 
1541 
1544 
1546 
1552 
1553 
1554 
£559 
1563 
1564 
BadAovra 


Tapuever) vdraoce 1540 Ta vewpia) Tovs Aevas 
TOV KwWAaKpEeTyV) Tov Taplay Tdv modiTLKOV XPnaTwV 

Ppacatps) cvpPovredoarpe 

atavOpakilouev) TO tip Exopev 1547 o1c8a) ywaooxets 
Suppopoper . . .) épov érdva els tov Sidpov 

Tois oKlaTocLy) adhbavéor Térrots 

aAouvTos) Kal py Aovdpevos 

Kapndrov...) avti KkaundAov auvov VR 1562 aitT®) ov 
TO Aaipa) 7 Tov Aamov » TO aia RK 

Ext. sig. sup. vuktepis] SvaBddda atrév as atrokAntws tapd- 


els Ta Setrva Ext. ante v.] émet ovre 7 vuKrepis uépas, 


avte of didocoda* deduKoTes yap pirtocodovew LR 


1566 
1567 


Go A e * / e Z 2 , 
Opav) wore n mpeo Bevoper ) Otrov mpeoPers Epxdpela 


ovTos) wo TpiBarrdAe VR 





Tzetzes’s Notes on the Aves tn Codex Urbinas 141 93 


1569 Ext. sig. sup. Aeorodias ] ote carpay eixe THY KYNUNY 6 EoTO- 
dias Kal péxpt TOV KdTw wepieBardeTo A 
1570 Ext. sig. sup. rot rpoBiBas] ductpe tos aPnvaiovs ot. Bap- 


Bapovs pera akioriotwy eis dovAcas ereutov VR 





I571 Tovtovi y) tov BapBapov 1572 Sub verb. éxes] &e 
1573 mavTwv) ard 
1577 ypnuec0a) exepotovynOnpey tpoarpynOnpev FR 
1579 ciAduov) els Thy Kuphyny yiverar 1580 zup7oXe) avarrte 
| 1582 émxvo...) ériBadXre cis Tas x’Tpas 
| 1583 Tov) Tivos 1586 émikvas) émKétrets 
1593 Ext. sig. sup. téeApacw] peaciy Kupiws b€ 7d or7yA@des Kai 
pn €xov vdwp VR 1595 avToKpatopes) GrroKpiordpror 
1601 dmododvar) mpére 1602 mpeocBes) droxpicapious 
1603 amoypn) tkava eloiv Undbilouar) dua TO apiotov A€yea Tad- 
ta VR 1604 7Aios) avénTos yaoTpis) Aatpapyos 


Fol. 189' (1605-1670) : — 

I6II Tov KOpaxa...) th Evds Tovs wavtas dias VR 
1613 Tov 6d0adpov Oév) tur 

1614 TavTa ye To...) yedoiws Kal” éavTod duvvar VR 
1615 paBacatped) ovyKxaratibear VR 


1616 é€mawel) ocvyxatariberar 


1619 evfapevos) trocyxebeis diacogpilytar) amare 

1620 patverot Geoi) avefixaxor émipovor Kat BaBaco. VR puol- 
Tiav) Si pucitiav) arAnotiav VR 

1622 duapiOuav) dydiopdarev 1627 €po) épy 

1628 6 tptBadrAds) © VR oiumlery) Karas déyerv 

1631 doxel) dpéoker 1635 dadAay@v) crovdav 

1636 dmiwpev) ac 1639 puas) Tis Bacwrelas 

1640 dadAAaTToOn) eipnvetouev 

1641 @ ilip’) tadaimepe eEatatwpevos) Ste 1646 olov) més 

1648 dsaBSardrAeTai o ) e€arata VR Tovnpe) OAL 

1649 dxapy) év Bpaxet 1652 ov ye Eevyns) ard 


1653 émikAnpov) KAnpovoynoy VR 1654 ddeAdov) dcov cireiv VR 
1656 vod0w azroOvycKwv) ére odK e&hv Tois vobous KAnpovpeiv didov- 
tar VR 1657 €émaipa) thoi 


1658 avOe&erai cov) avtitondh 


94 Fohn Williams White 


1661 daykurrelav) perovoiay THs ovaias VR 
1666 pereivar) petovrlav Ext. post v.) 0a yap Tov éyypadyvar 
eis Tas hatpias, sVuPorov eixe THS evyevetas VR 


Fol. 189" (1671-1737) : — 

1671 aikiav) paotiya ynyovy eis TO TUWar Twa VR 

1677 wav 70 Tpaypa) Tara trd0eors Kpéparar 

1678 xaddv Kopavva) Kadynv Kopnv VR peyara Baoidwad) me- 
yirnv Bacthioocay VR 

1681 ed py Badilav) avaxwpeiv VR Ext. ante v.] yyovy dvadpa- 
otws Aeyer’ Kal aicxyiAos TO BapBapilew VR womep at yeArdores ) 
xervdovilev dyno. VR 

1682 ovKovy) TO dovrdv tais xeAuddar) Tats eis THY vepeAoKOKKv- 
yiov VR 

1683 duarAAaTrTecHe) elpnververe EvuBatvere) cuvpPr.Pdter Ge 

1684 oa vy) tpiv 


1688 Katexornoav) éopaynoav ovTou ) of opvibes R 
1690 tre) émédAOere 1691 TevOetav) apapyiav 
1692 ovK el...) opevdels 


1693 Pag. sig. sup. yapuxnv| Kal ovKodavteivy avtods mept Ta duKa- 
/ XS tfa a sf » x > g 5) c 5] i A \ 
otnpia’ VR ra fs trattra éotw Ta dvwtépw ev Tais exAyoLaIs vUV Pyotv’ 
mailer d€ duactpwv Tov aOnvaiwy ovKopavtas’ Tapa TO datvew VR 
1699 ovkdlovot Te) ouKalev TO otKa éxAcyew Kal cuKodavTely VR 
1704 Pag. sig. sup. wavtayovd |] BovrAerar Eye OTe e€eBANO Ex TOV 
, \ ev e rn > \ , \ ¥ 
omAayyvov dia Tovs PyTopas » yA@TTa* ézel TavTyH Tovs GAAOUS KAKO- 
na , \ \ la 4 » \ las 
TOWVGL TpWNV yap pETA TOV OTAAYXVWV ETEKoOV THV yAMTTayv VR 
1705 xwpls TewveTar) Kal Kexwpirpevas 
° 5 , > , 5h ig € a? ld 
1706 Pag. sig. sup. @ mavr | eln Gv ovtos 6 Gyyedos, Oepdrrwv cuvava- 
BeBnkas mec Oeraipw ® peilw Adyov) a py b€ AOyw icxyver Ppaca LK 
I70Q otos) Aaprpds 1710 ideiv) ets To Xpvoavyel) avrov 
1713 Ext. sig. sup. €xwv] cidOacr TO Kepavva e& ExaTepov pepovs 
mrepa tpoopvay L 
I715 avwvopactos) roAAy VR és Babos KikXov) eis TO vos 
Tov ovpavov R 
I717 avpar) mveovoa VR Ext. ante v.] dupaipav To novxy 
kweicOar Kat podev VR duaaipovor) Kioto. VR 








Se ee 


Tzetzes's Notes on the Aves in Codex Urbinas 141% 95 


1720 avaye) tpvee VR Int. post v.] ad Tod eipuridov: avexe 
mapexe Pas pepe V 1732 HALBaTwv) wWmrdv 

1733 Ext. ante v.| xaA@s 76 émBadapws yeyparta, VR 

1734 Ext. ante v.] ovvyyayov sven VR 

1735 €v Towwd wpevaiw) tuvw Backed VR 

1737 Inf. sig. sup. épws] épws Pyot rapavupdos hy Tod dios Kal THs 
rpas* mapoxor yap €Acyovro of mapavupdor mapa TO Tmapoxeicbar Tois 


vupidiows* em dxypaTos yap Tas vupdas nyov VR 


Fol. 190’ (1738-1765) : — 

1738 evOvve) StaxvBépva Ext. sig. sup. madwrTovovs | tas madw Kal 
els Toimicw Tewonévas ndeTO ToUTaY Tois yapors 

1744 Adywv) xdpww QUTOU) TOTLKOV 

1745 KAnoate) tuvyoate VR 

1747 Oewov...) KatamAnktiKdv: Tov Sidmupov Kal AevKov 

1749 auPBpotoy) apPaprov 

1751 ode) » 6 Lets ) 6 wecberaipos AaBov tHv Bacrrciav VR 

[752 Ou oe...) Tov kepavvov 1753 mapedpov) cvyKdleSpov 

(759 Ope€ov) Sos @ pakaipa) © BaordrA VR 

1760 xépa...) ot yap opviOes mrEpois avTi xepOv éxpavTo V 

1761 AaBovoa) sapapévy 1762 Kovgdi@) Bacralw VR 

1764 Pag. sig. sup. tyveAa] TO THVEAa pipwnows é€oTl Hwvns Tolas 
PovouKHs* Gpoiws Kal TO adAadal: éore SE ard Tod edvpviov ov EizeEV 
apxidoxos «is TOV WpakAéa peta TOV GOAoV avyelov’ THvEeAa KaAXiiKE 
xaipe avaE npaxres attos Te Kal idAaos* aiypntrat dvo* doxe dé rpa- 
Tos apxiAoxos viknoas év mapw tov Onuntpos vuvov éavT® TovTOV 


érurepuvnkevar VR 


There are eight hundred and twenty-seven notes in the Transcript 
designated as separate notes by means either of black-faced types or of 
symbols.? 

I Three hundred and ninety-three of these are not in V or R so 
far as I have discovered. ‘These are printed in black-faced types. 





1 Three of the scholars named in the first note on p. 69 have briefly expressed 
their opinion about these notes. See Zacher, Handschriften und Classen, p. 603; 
Zuretti, Azalecta, p. 147; Piccolomini, Muove Osservazione, p. 447. Zuretti tran- 
scribes four of the notes on p. 161 f. of his Analecta. 


96 | Fohn Williams White 


One half of them are brief interlinear definitions, generally mere 
synonyms of ‘hard’ words in the poet’s text, e.g. 30, 44, 45 (sic), 46, 
96, I10 (SIC), 124, 132, 135, 143 TpvpyArA@v, 156, 166, 168 ravra, 171, 
177, 209, 214 (five synonyms), 224, 255, etc. Such brief interlinear 
notes occur also in V and R, but there they are not so frequent, and 
fewer of them are trivial in character. 

The etymological notes in this category are few, e. g. 26, 143, cf. 943. 
Some notes in this section relate! to the ‘action,’ €:¢: 2; 5754 1700. 
others designate metrical divisions, e. g. 685, 753, 769, etc. 

About one eighth of the 393 are grammaticale. ¢.)14o; mons en 
572 (but the text in U reads zeropeOa), 930 (sic), 932, 1298, 1583 ; 
610, 663, 1744; 369,1264; 164, 387 (SiC), 595, 1000, 1046 (cf. 1744), 
1562 (Sic), 1710; 153, 432, 437, 607, 652 (prolepsis, ef 1219) ayo. 
TO1O, 1513; 131, 316, 8232, 101d, 1250, 1268, 1227 eA coMmuaone 
15,00) LOOM. 

About one fourth are exegetical. Some of these interpret the mean- 
ing, others give information on biography, natural history, or antiquities, 
€. $1 503, 567, 581, 611, 1005, 1042, 1I31, 1242, )125 ea eo, 
14535 286, 763, 1073, 15045 20900, 761; 601, 827515 nO; 4ue 

Although these notes are not found in V or R, some of them may be 
abridgments of Old Scholia, since Tzetzes had at his command a fuller 
ancient commentary than that in either Vor R. See III below. 

The following among late and unusual words that occur in these 
notes, but are not found in V or R, are especially worthy of remark : 
156 adxapitwros, 555 AoyorpiByon, 582 adpotpiovor, 825 vdAdkrTpuar, 
1241 dogdadioas (Meaning), 1532, 1595, 1602 dmoxpioidpios. Add 
602 Oyncavpapia, 1021 mpodeyopevor. 

Il There are 87 cases: in which U agrees with> both veranda. 
(marked VR in the Transcript). 

In about one third of these cases the note in U is identical, or 
practically identical, with the note in V and R, e.g. 539, 707, 745, 803, 
844, 929, 1169, 1248, 1745. In the remainder it is shorter, and is 
either a complete part of the note, e. g. 100, 521, 547, 648, 697, 9II, 
1221, 1442, — or it is a word or a few words extracted from the note, 
e.g. 141, 503, 766, 1159, 1406, 1620, 1678, 1720. The two cases are 
about equally divided. 








1 The agreement is not always absolute. See the last paragraph on p. 71. 


Tzetzes's Notes on the Aves in Codex Urbinas 141 97 


Iii Similar to the foregoing are the cases in which the note in U 
agrees with that in V, but is not found in R (marked V), and those in 
which it agrees with the note in R, but is not found in V (marked R). 
There are 37 cases of the first sort, 20 of the second. 

These notes prove that Zzetzes’s copy of the archetype had fuller notes 
than those in either V or R. This important fact is confirmed below. 

IV The instances in which a note in U is found in V in a changed 
form, but is not in R (marked /) number 62; those in which it is 
found in R in a changed form, but is not in V (marked #), 23. 

V ‘There are 27 cases in which the note in U is found also in V and 
R, but while in agreement with one is in disagreement with the other. 
The instances where U agrees with V but differs from R (marked V 2) 
number 17; those in which it agrees with R but differs from V 
(marked VR), ro. 

Half the cases of disagreement result from the omission from V 
or from R of parts of a note that is found in U. The most of these 
omissions occur in R. They confirm the conclusion reached in III, 
that Tzetzes’s edition of Aristophanes was better provided with Old 
Scholia than either V or R. U has a fuller note sometimes than that 
in V, sometimes than that in R, but since it agrees with either V or R 
in all these cases, the additions (1. e. the omissions in V or R) must be 
from the body of the Old Scholia. 

VI ‘There are, finally, 178 instances in which notes in U are found 
both in V and in R, but in changed form (marked VY 2). 

Here also the conclusion reached in III is confirmed, since parts of 
notes in U that belong to this category are found in V but are omitted 
in R, or are found in R but are omitted in V. 

In both the last categories the disagreements, besides those resulting 
from omissions in the two older mss., are differences in form, in word, 
or in phrase. 

These two categories, therefore, are of intrinsic importance, since 
they furnish the test as to whether U is in closer agreement with V or 
with R. 

The last three categories (IV — VI) illustrate Tzetzes’s mode of pro- 
cedure in dealing with the Old Scholia otherwise than by simple omission. 

In the following discussion of the questions proposed in the last two 
paragraphs, I assume, as I have previously assumed in this paper, that 


98 Fohn Williams White 


Tzetzes ‘composed’ the notes on the Aves found in U. No scholar, 
I believe, denies this. Furthermore, that there was an archetype, very 
probably made at Byzantium, from which all existing Old Scholia on 
Aristophanes are derived. An inspection of any page of the notes on 
the Aves in U shows that Tzetzes in writing them must have had before 
him a manuscript based on the archetype, and it has previously been 
shown that this manuscript had fuller notes than those in either V 
or R. See III above. 


Are the note in U in closer agreement with those in V or with those 
in R? 

I have observed the following cases of agreement and disagreement 
between U and the older mss. Mere omissions from V and from FR of 
part of a note found in U are ignored. 


U inclines towards V :* 
Cy 

31 odKxes yap| oaxar dé? 65° 85 tov éroros U émo V (érow 
G sic) rodrto to éros R104 €AnAVOe U ebedrnrAvOe V e&eAnAVGOa R 
139 Padavetwy|] Badravelov 158 KiBdnra A€yeror| KuBdyrAEvVeTaL 159 
ois otepavotvtar| év ols otépovtat 176 ws] wore 185 of mdpvo- 
mes | ot Opvets of mapvoro. 189 maile d¢... Cyrovow] 7} ovTws... 
airovcw 189 6Atyou kal eipyyikot| Ka’ eva, Kat eipnvikws 436 ém- 
atatyn O€ OnAvKds | émiotarys b€ 463 mepieKewTo| TapéKevTo 465 
vonews U pwpews V Booxod R 501 apxomevov] épxopevov 534 
aptupa| ardita 680 é€apr] cap 680 TeAovor] TeAOdVTaL 737 pa- 
Kpov | puKpov 831 Kwpwdeirar|] dueBddrAcTo 882 dwpikdy| dwpikws 


902 ard Tapousias | mrapoimi@des 984 peradaBeiv] ériOupet 1009 
dia BeBwnpevos | mepiBonros 1227 mpaéynte| mpagyrar 1258 mapa 
TO] dvte Tov 1368 ovvexeis] cuvexas 1410 dav] 0 ody 1614 





1 The reading placed before the bracket is that in UV, the reading following it 
is that in R, unless a more exact designation is given. | 

* I am indebted to Mr. Rutherford for permission to use the transcript of the 
Scholia in the Codex Ravennas published in his Scholia Aristophanica (1896). 

3 The discrepancy in the notes on 65, where the readings are: AiBuKdv dé émel of 
AiBves BdpBapor Kai deol: 7 érel modvopus 7 ALBIN UV, ws év Bin mo\Ndy kal 
éxtpatéhwy dvTwy dpvéwv R, is not here recorded since the note in R was probably 
an alternative note, which happens not to occur in V. Compare the cases cited in 
the second paragraph on page 72. 





Tzetzes's Notes on the Aves in Codex Urbinas 141 99 


xa’ éavtovd | KafeavTov 1666 THs evyevetas| THv evyeverav 1704 
éreov | €TEWvov 1737 mapa TO mapoxeiobar| mapa oxeiobar 1764 
peta Tov GOXov] peyiotwov aOdwv 1764 aixuynrat U aixunra V 
aixuntns R 1764 éavt@®] éavTov 


U inclines towards R 3 

I2 tHv eis TO olpor] eis THY olpor 66 ameratnoev U aroratn- 
cavtwv R évaderkos V 156 oAXAov xpovov] Trod@v xpovwv 185 
Kkovetuyv | Kovwmes 4602 nitpercta. U evzpemora R yutpemierar V 
465 ot Aurapoi] ws Aurapol 501 xKvAivdovrar| KvAwdotvTat 527 
ifov | i€@ 535 mapa TO xeecGar (xeverOar R):* yAvkd dé péduti de- 
devpevoy | mapayeverOar yAvkei S& pedite dedevpevos 879 yvxovTo 
€avTois TE Kal Tois xious U nixovto kown émt tov Ovoidv éavtos Te 
Kat xious R ev'xovro Kown éme TOV OBvoiwy éavT@v Te Kal xiwy V 
L113 amo Tov cvvabpoilay | ex Tov mpoabpoiley 1204 TaxvvavTov- 
ca] taxv0avarovoa 1360 meion]| meioas 1395 atta] airov 


1566 KAnpovpeiv | ovyKAnpovopety 1764 dvo] dvw 


It appears from this evidence that the notes in U are in closer agree- 
ment with those in V than with those in R. ‘The ratio established by 
these instances is that of about two to one. 

A different and less important question is whether the notes found in 
U occur in great number in V orin R. The ratio in III above is 37 
iomveto zon Rin TV it is 62 to 23: Lhis preponderance of V over 
R is explained by the fact that the notes in V are more numerous than 
those in R, and that there is a gap of three unannotated folios in k, 


mamely 56,57), 57 


What was Tzetzes’s mode of procedure in dealing with the notes 
which he found in his copy of the archetype? 

He generally omitted them outright ; furthermore, he usually omitted 
the greater part of those that he selected ; but sometimes he found a 
brief note that was ready to his hand. His procedure in making omis- 
sions has been indicated above in II (p. 96), and perhaps does not 
need further illustration. 

This method was followed in @a// the notes recorded in the Transcript 





1 The reading placed before the bracket is that in UR, the reading following it is 
that in V, unless a more exact designation is given. 


100 Fohn Williams White 


which show relationship with the notes in Vand R. His purpose is 
reasonabiy obvious ; he was making an edition of this play ‘with brief 
notes.’ But he secured brevity also by compression, and he did this 
with intelligence and skill, although occasionally be got befogged. In 
the following examples he substitutes a short sentence, or a phrase, or 
even a single word for a longer sentence which he found in his copy of 
the archetype : 


290 piaoms yap hv) ws piaomv de duaBadrrAer Tov KrAEewvypov V 
446 radra 6 wowntys | éredn repr vikns edyerar moved avtov 6 moinTyS 
evpyovvTa eotat tavTaye VR 877 duaBdrrAU adbrov] map vrovoxy 
emnyayey BovrAopevos attov diaBarciv VR IOII vravaxwpa| ws 
iros cor cupBovrevw vravaxwpnoa évOev VR IO2I mpodexopevor 
tovs EEevous | mpokevovs exadovy Tovs Tetaypevous eis TO UmodexerOar 
Tous €vouvs Tovs e& GAAwy worEwv yKovTas VR 1294 povodbadpos 
Kal apmag| ote apma€ Kat avardys* ote de [Kat add. R] povodGadpos 
ouTos eipntat (mpoeipyras R) VR 1479 Tore yap éyevovTo ai dikar | 
TO yap povvoviyiwv pynvi Tov aépos (e€apos R) yuvsvagovrar ai mpos 
tous €evovs dixar VR 1648 éfarata] ore TO dtaBadAovrar (dia Bar- 
Aerat R) ypOvrar ee Tov é€aratav VR 1682 ais eis thy vededo- 
koxkvylav | 616 Kat éroice ovKoty mapadovva Tais xeAvdoow Eye Evel 
Kal avTos mpos aitas PBadiler eis vepeAokoxvyiav V R 1738 dero 
TouTady Tois yapous | elpntar wept TovTOV Ev TOls pevavdpEiols, OTL eV 


Tols yaplora yidero R 


A neat device is employed in abridging a note that calls attention to 
a word used in address, e.g. 1567 © TpiBarArAE TovTO AEyer TO BapBapw 
TO CupTapovTe avT@® eis THY mpecBelav 6 Tocadwy VR Cf. 958, 1199, 
1759. A similar contrivance is used to indicate the order of words, 
compare 369 and 1264 with 381. Jn 652 and 1269 the editor takes a 
like short cut in enuntiating the doctrine of prolepsis. 

There is evidence on each page of these notes that they are not 
mere literal excerpts from the Old Scholia. Compare the following 
instances of the substitution, which is in most instances deliberate, of 
one word for another : 


43 Guvvav| 76 drocoBeiv VR 68 da] mapa VR Cf. other 
shifts of the preposition in 276, 462, 877, 1354 amo (bis), 1463 mapa 
TO, 1611. 69 dpus| dpveov VR 69 Tepaotioyv| TepactiKov V R 











Tzetzes’s Notes on the Aves in Codex Urbinas 141 101 


147 €pxopuevovs] éyKadovpevovs VR 158 dpyvpiov|] dpyvpov VR 
168 dwactpe| duaBardr\4a V (The word dacvpw occurs often in these 
notes; cf. 17, 37, 268, 879, 930, 1570, all original.) 179 dAwvos | 
agovos V 194 Onpatixod| Onpevtixod VR 237 mpooxadreirat | 
caret VR 299 xwplov| Kovpeiov V 301 mpoovrdapxovcw | mpov- 
tTapxovow V For similar instances, cf. 486, 579, 1021, 1169, 1429 
menipeperOar, 1717 KweloGa and xkwvovor. 399 Toros] modus VR 
399 moAeuos |] payn VR 427 A€eya] ep’ VR 433 petewpilo- 
par] pereopnuar V pernopnuar R 489 adyn| aon VR 530 Kpa- 
Tovvres | kaxovvtes VR 549 amrodvocavTwy | arodecdvTwy V 552 
extia@n | oixkodopnOyvac VR 598 gowixoy rAoipiov |] PowiKikdv oKa- 
gos VR 601 droxptdwv| adyvootov VR 606 POdcwor}| mpoKi- 
Wovor V mpoxowovow R 627 petaBadrrduevos | petarintwy V rintwv 
R 639 duefddovs] e€ddous VR = 641 ~Kadiav] voooiav V voovay R 
712 wmoKpivopevos | mpocroovpevos VR 717 Opvewy| dpveomavTewy 
VR 721 Kakdmodas| KudAoradas VR 749 Tpaywdds monty | 
Tpaywooro.os V tpaywoias zontns R 781 ta iepa] Tov iepea VR 
842 Tovs vAaxas|] tas PvAckas VR 842 édpovy| etyov VR 
874 o¢Balew eyovor] KaBdlew dynot V 1014 aGAAovs] aAAHAOvs R 
1028 dAalovikds oxwrretar| aAalwviKds oxyrtTeTar VR 1029 dyoi] 
eye R 1065 PAdotynpa| axpodpva VR 1074 ovyyevn| mporn- 
Kkovrov VR I112 aéiav (sic)] d&eiav VR II13 oicodayos | 
mporoBovs VR 1134 mAwGodopa| axPoddpo VR 1137 Té- 
pvover| avvovor VR 1317 dovrov] pavnv V 1376 dovvavryrov | 
dovvdppoorov VR 1410 mpecBitov| mpecBuvtepov VR 1493 
ghicews|] dWews VR  =15.64 Sedvxdres | Katadedouxores R 1611 dias | 
dyAot VR 1678 Baciticoay] Bactheav VR 1713 €& éxarépov | 
efavwtépov R 1737 vuudrdios | vupdious VR 


These are simple but essential changes. In other instances the 
rewriting is more comprehensive. In extreme cases it results in a 
complete or nearly complete re-phrasing of the original note, as in the 
following examples : 


3 a , lal \ \ 
4 amo petadopas Tov ornpuovos| mpodopeicbar yap Aeyerar TO 7apa- 
hepa Tov aTHpova Tois diaLopevois VR 17 duacvper TovTov ws 


pukpov T® owpat.] adnAov ei dowrddwpov A€ya* Os Kwuwodeirar exe 


1 See Mr. Rutherford’s instructive note on épe?, I, p. 452. 


102 Fohn Williams White 


e 


opukpoTyTt cwpatos Hy dé Kal 6 OYappareidns puKpds V 37 dvactper 
TO iArdddiKov Kal THY cvkKodavTiay| eis To PiAddiKOY TOV GOynvaiwy dtL 
cvKodhavTovpevor of mwodAol ametivov xpynuata VR 70 éme 6 HTTH- 
Ocis dAAeKTpvwv akoAovdel TH vevikynkoTi] pvorkoy (eort add. R) ov 
(kai add. R) éy rais cvpBodrais tov ddEexTpvovwy Tors yTTnEvTas Eme- 
- 4 4 e 3 \ / A 
oOo Trois vevixnkdot VR II mapdcov ot aypouKikol pucodiKor| TodTO 
Neyer OTL of Gyporkor povor ciot ot pn tiAodiKacTat VR 125 Kal 
oy) : > 9 ae, 5 B) 4 Gé > 
éxet (1.€. €xetv) dpicrovs dynuaywyous | dpiatovs Kexpysevovs Gedes ExELV 
+ A / \ a / / 5) , 3 , 
dpxovTas TOU Onmov Kal THS TOoAEWS. 126 OuvoTL éEA€yeTO apLioTOKpaTys | 
\ \ b} \ 3 4 4 e > 
Tapa TO OVOMA TETAaLXEV EEL ApLTTOKpATHS TKEALOV vios nv VR 267 
 Cwov TWos 7 TOU Emomos]| oimat Kal TaYTA TOU ETOTOS TrOLKLAOMEVOV 
e S € / , , 3 a > / / 
ol d€ 6pvéov mepimTapevov V 399_-—«TOmos eis OV eyeveTo TOEMOS Nake- 
daypovioy Kal apyeiwv| éoti d& THS apyeias TOMS... tows SE OTL eV 
Gpveais payn €yEeveTO KTE. 568 dua Tas porxetas Tod AHpov (dele 
Anpov) dus etre TOV OpxiAov| éTAGGTaTO TO Gvopna (Tov add. R) cpviBos 
\ \ e \ \ EN N 7 ¢ , , 
eel Katwpepys 6 Ceds Kal poryers (morxds R) dia Tovto dpxiAov mapei- 
Anxev dua Tovs opxyeas VR 619 ABuKos Beds 6 aupwv] évravoa 
(€vOa ra R) parvteia ciciv...év d€ A(Bvor Ta TOV Gupwvos VR 
639 Bpadds d& nv eis Tas dueEddous O10 Kat duaBdAXrEeTaL| ote Bpadds Hy 
mept Tas €€ddovs Kal ws ot diaBadrXrovTes odXL TpovonTiKds Tv GAN ape- 
Antys VR 721 Ta mpota EvvavTnpata éxddovy onmeta}| Kal yap 
Tavta SvupBerovs érotovy Ta TPOTA GuvvavToVTa V 835 mailer pos 
co \ /, 4 , > XQ a \ > 
Twa maida veotTov Kadovpevov| tows dé Tus QV KaAdS Tals veoTTOs ToU- 
voua mpos ov maile. V (Tzetzes boldly rejects the doubt.) 1142 
oy] \ , SgEN a yo \ S + 2 ‘ 
éraile Oa TO TapayerOar aro THs Epas| Tapa THY Epay TemaLxEV* eE7rEl 
6 mnAos ek THS Epas TovTecTL THS yos VR 1272 eis TO yeveoOu 
atynv| otov eis owwrnv Kypvfov VR 1376 dovvavtytov TO K@Aov 
mpos duaBornv]| emitndes adiavonteverar OéAwv SiaBddrArav Ta Kivyoiov 
TOLMPATA Ws adLAVONTA aTVVAppooTOV TO K@AOY TOTO mpocEppiTTar V R 
1421 dure xAatvar yivovrar éxel diapepovoar| ot d€, oTt xAatvor duado- 
pou év meAAnvyr éyivovto R 1570 dvactper Tors aOnvaiovs Tr Bap- 
Bapovs peta afiorictwv cis dovAeias (Sic) emeurrov] emkev ws emi 
2 Ne: 4 + i“ , Y - 3 4 
abnvarwy éret ivotipias ovons ovpBatver Syuwddes apa Tois agtoricrots 
9 , 9 \ A e , ° , 
amootéAAco Oar womep Kal viv 6 BapBapos eis wndev ypyousov cvpzrocel- 
dav Kal ypakAei arectaAn VR 


Although Tzetzes shows disposition to brief statement, he does not 
hesitate to amplify when occasion seems to him to demand it. His 


Tzetzess Notes on the Aves in Codex Urbinas r4I 103 


original contributions are not confined to the notes printed in the 
Transcript in black-faced types. Compare the following incomplete list 
of instances in which the words here quoted are not in either V or R: 


92 THY TvAnV 147 nyovv eis Kpiow 159 épv0pa 321 xal 
brdGecw peydrAnv 381 yuas airay 392 deov et Huds 429 Hyovv 
dpovnots (This is an attempt to interpret the obscure, if not blunder- 
ing, old scholium that follows; note the lemma.) 602 Ta Aeyoueva 
rap Hpiv Onoavpdapia 682 nxovoa 738 wdn nro oTpody 798 
éywv (Here incorporated from the text.) 858 maile airov 875 
Tm pea Tavtnv cikacas 923 €Onxa et EOvoy 1112 dia TO dprakti- 
Kov 1146 popiov 1335 vmopeivw 1375 Kal mTEepvyecor 1454 
Ta Coa 1577 mpoarpnOnpev 1704 mpwnv yap 


In the following instances parts of two notes that presumably were 
separate in the archetype are combined in one: 102, 189, 276, 447, 
463, 465, 530, 534, 538, 550, 559, 639, 721, 749, 798, 810, 869, 918, 
1028, 1203, 1258, 1368. In 705, parts of three notes are united in one. 
The parts are often combined with skill, but in some instances the 
workmanship is bad. On 447, 463, 550, 721, 749, 810, 1028, 1203, 
1258, 1368, two notes on different parts of the text are run together 
without due warning. On 539 a note (yvyoe xré.) which in V is an 
explanation of dAxuyvas is transferred without impropriety to dAdzas. 

The parts of a single continuous note are rearranged, in the rewriting, 
in the notes on 266, 301, 648, 1693, 1704. ‘The note on 301 is note- 
worthy. The warning of the Old Scholiast is ignored, and Demon’s 
note, against which it is directed, is put first. The change in order is 
polemical. The warning inserted in the note on 1693, ra é€ys raira 
éoTw Ta avwrépw, shows that the change in order in this note resulted 
from oversight and is not due to Tzetzes. 

A brief style has its pitfalls. In the note on 109 Tzetzes is com- 
mitted to the statement that 7Avaora signifies ‘a court-house in Athens.’ 
The note in VR reads: duxacral ard tod peyadov dixacrnpiov tis 
fXias. The surprising statement is made in the note on 266 that 
érwlw means ‘to sit on eggs.’ V more credibly affirms: érwlev eore 
TO €mt Tols wuois KabeCoueva TA Opvea Kpadev. ‘There are other startling 
revelations, which are not to be defended on the plea of brief expres- 
sion. The note on 82 both adds a word to the language, unobjec- 


104 Fohn Williams White 


tionable in form, and records a new fact in the natural history of the 
gnat; but this philological novelty, hitherto unremarked, is probably 
due to the librarius. This gnat, however, will not down, and in the 
note on 569 seems to claim identity with the ram. Again, by the fatal 
change of a single word in the note on 951 Peithetaerus’s airy town is 
whisked from the clouds and consigned to the infernal regions. Other 
instructive disclosures will reward research, For changes that vitiate 
the sense or leave the grammatical construction suspended, see the 
notes on 186, 272, 299, 521, 538, 879, 1014, 1368. For misinterpre- 
tations, see the notes on 84, 110, 387, 962, 966,:973) T1603) To2e 
For notes in which the thought is incomplete from insufficient form, 
see 92, 147, 248, 275, 317, 566, 794, 823, 1029, 1654. 

In general, however, the workmanship is good. ‘The evidence already 
adduced shows that Tzetzes’s object was well-defined. He was writing 
a brief commentary on the Aves based on the Old Scholia with additions 
‘by the editor.’ He aims first of all to interpret the poet’s language. 
He is interested in facts of ancient life, in political history, and in 
biography ; but he shows indifference to literary history. He did not 
simply excerpt his notes from his copy of the archetype, but often 
rewrote them, making changes that show intention and sound judg- 
ment. In the following instances, e.g., he deliberately altered the 
grammatical construction. 


102 émynyaye| émayaywv Vo 319 vromrrevovar yap | vromrevovtes V 
424 nyovv 6 ovpavos Kat 4 yn] Tov ovpavoy Kal tyv yynv Aeyer R 
552 Kal y BaBvdrov d€ rrAWOwv drtov EéxticOy KTE.] Pyow (dace R) 
yap thy BaBvAdva ard értav TAWOwv oikodopnOjvar kre. VR Cf. 765. 
732 éudaiver| éudaivwv VR 1256 oAAakis avvovotacbeicay | oA- 
Aakis éuBadrciv dvvapevov VR (This brings cvvovovacbeicay into con- 
struction with the subject of @avyager.) 1410 évavtiov| évavtiws 
WON 1615 ovykatatiWeuar| ovykatatieras VR 1706 dOyw] Ad- 


yos R mvéeoveat | aveovot VR 


He changed tenses: present to past, as in 147, 292, 1035, 1354, 
1404, 1479, 1569, 1737 (bis) ; perfect to pluperfect, as in 822; per- 
fect to aorist, as 299, 568. ‘The Alexandrian commentators phrased 
their notes sometimes in the present, sometimes in the past. Do these 
instances of a re-phrasing of their presents by pasts show that, com- 


Tzetzes's Notes on the Aves in Codex Urbinas 141 105 


sciously or unconsciously, Tzetzes felt himself to be far removed in 
time from the poet he was interpreting? Other changes occur: of 
form, as in 461, 765, 978; again of tense, as in 189 (bis), 465, 1028, 
1106, 1463; of mood, as in 301, 425.1 

Many notes are of superior quality or manifest a personal judgment. 
To quote typical examples, ra tepa in 781, retputnpevoy IN 915, mapa 
TO ppvKTos in 1161, and avyefov in 1764, are interpretations superior 
to those found in the older ss. and doubtless correctly report a better 
tradition. The note on 968 confirms Dindorf’s conjecture. In 43 
there is a definite alternation of explanations that is only implied in 
VR. In 363 the amplification in expression makes the thought clearer. 
In the note on 361 the editor shows at least that he has the courage of 
his convictions. ‘The same authoritative tone is found in the note on 
835, where the doubt expressed in V R is rejected. The same positive- 
ness leads to a statement about Theagenes in $22 that it would be 
difficult to establish. Finally, the note on 1284 is a clever imitation of 
the note to be found in VR on 1281, which reads: trys Tv Aakwvwv 
npwv moduteias. Cf. the note on 1455, which applies to the explanation 
of the processes employed in the first suit, the learning recorded by 
VR on 1459 in regard to the second. 

It is now apparent that the notes on the Aves found in U depart 
from the traditional text preserved in V and R. They differ also 
from the text preserved in the other mss. of the Aves, and hold a 
position, in the history of the ancient commentary on this play, that is 
unique. In order to illustrate this important point, I give in what 
follows the notes found in U? on fol. 183’ (see the facsimile of this 
page, prefixed to this article) and the variants in V, Rk, I, Es, and 
the Princeps.? 


1 See Mr. Rutherford’s note on 426, I, p. 452. 

* The text of the notes in U is here printed in black-faced types. 

3 In quoting, I give the spelling, accentuation, and punctuation of the first manu- 
script named, in each case, V taking precedence. 


106 Fohn Williams White 


TEXT OF THE NOTES IN U ON 795-858, WITH VARIANTS 


7961 Buyoas) et Sup. crvoveidoas Piva, cvvoverdte ” 

Om. mss. Pr. 

798 mvtiwata povov éxwv TrEepa) Ths mrbvyns EXov Kpepdpeva ipardpra 
TS Tpaxhro | SE mrdvn mréypa orth 

Ta mapa (7ept Pr.) tpaxyAw (7 tTpayjyAw RIM Es Pr.) tas avri- 
VS Kpepaueva aipavtapia (aiwavtypia R) éxatépwhev mrepa KadreioGor 
mss. Pr. 

Opveov puKpov 4 muTivn O€ TAeypa éeotiyv VI Es Om.M Pr.  opveov 
puKpov 4» muTivn R 

799 1peOn) mpoexpiOn 

Om. V RM Es Pr. 

803 Ext. sig. sup. wxumrépors ] tév mrepdv Ta pev Kadetrar mrita> Ta 
Se, wrepa, Ta S€ wKvarrepa 

é7t Tov mTEpov KTe. M. 

805 yxnvi...) ebredds yeypappévo xnvi 

xnvi om. M 

808 7ad° ovx ...) Hyouv 6 xhv Kal 6 Koixos 

Om. mss. Pr. 

810 Ext. post v.] mapdSofov 6 odk wvépacrtat moré| tots spvict 

816 xapmevvn) TH ebredet 

Om. VRM 9 O€ yapedyn evTeXns éotiv I Es Pr. 

816 Kepiav €ywv) emw todTo Td dvopa 

ovd av THY XapEvVyV Gvopdacay oTdpTyVv MSS. Pr. 

822 @eayevovs) ék mevias mAovovos éyeydver 

mpoeipntar (apoetpnkev Pr.) ote mevns ovtos: éAeye O& EavTov (adTov 
M Pr.) zAovovov mss. Pr. 

823 amavta) etor 

Om. mss. Pr. 

823 Kal A®oTov... ) morevev aiTd q es TO 

Bértiov pyow mictevev TA XpHpata (TA xpnuata micTevav I) TovTwy 


év vedheAokoxkvyia amoxeicbar 7 eis TO PrA€ypas medvoy MSS. Pr. 





1 Verses 795, 796 occur, with notes, both at the bottom of fol. 182” and at the 


top of fol. 183’. 
zy See. p.10G;moterze 


Tzetzess Notes on the Aves in Codex Urbinas I41 107 


824 TO prcypas medioy) tot meSiov Tis Opdxns 

Om.M ore 8 trys Opa Vo... THs Opaxns mediov R= eater 8 
(ris add. Es Pr.) Opdxns wediov T Es Pr. 

825 KxaOumepnkovticay) Séov elmetv katerohéunoav 

eirery om. VI M Ess Pr. 

826 Amapov) Aapmrpov 

Om. mss. Pr. 

827 mohovxos) vrag 

Om. mss. Pr. : 

827 T® Eavovpev) ds ot GOyvator 

Om. mss. Pr. 

828 odidda) pvddKTpLav 

Om. mss. Pr. 

831 KAecbevys) ottos ws yuvarKddys Kopodeirar 

Om. Es Pr. Os yuvaKwONnS ovTos Kwpwoeitar VM — ovros dieBadr- 
AeTo ws yuvarkwdys R 

832 KadeEer) vddger 

Om. mss. Pr. 

832 Ext. post v.| els Tas aOqvas telxos aweAapyiKdv év TH dKpomd)et 

aOnvno. TO weAapytKov Tetxos (nv add. M) év tH adkporodAa (év TH 
axpoToAe, om. R) mss. Pr. 

835 @ veoTtTé...) Tatler mpds Tia maida veorTdy Kadovpevov 

Om. RM tows O€ tis (tioe I’ Es Pr.) jv (om. TI Es Pr.) xadds 
Tals veoTTOS TOvVONa mpos ov waile VT Es Pr. 

836 Ext. sig. sup. oikeiy| kal totro mraifer émel tpaxd Td meAapyiKdv kal 
TETPOOES 

Om. R. 76 ydép (yap om. I Es Pr.) weAapyixov kat aitd tpayd (76 
yap... Tpayv om. M) arAa dia Te emitydecos ert meTpov orKely (ext 
TeTpaY olKely POSt €or M) eizep GAexTpvwy eoti xTée. VI'M Es Pr, 

839 Int. ante v.| Kupiws S€ opydcat TO mocdoar 

de épyaca 76 Om. V RT Es Pr. de épyacar om. M 

839 dzrodvs) éexdv0ets 

Om. mss. Pr. 

839 Opyacoy) pddagov 

Om. R 

842 Ext. post v.] of tots didAakas yap mepirkomotvtes, KdSwvas epdpovv 

ol mepizoXor of (ot om. R Es Pr.) tas @vAakads mepioxorovytes épxo- 


108 Fohn Williams White 


pevor ere ToOvs PvAakas KwWdwVas elyov Kat TovTov (Tovt R  Tovros M 
dua tovroy I’ corr. Es Pr.) éWodovy mss. Pr. 

844 Ext. sig. sup. erepov |. émel petaéd yfis kal odpavod éotly 6 dip 

éotiy om. I'M Es Pr. 

846 otpwle) dvt. tod Koria 

Om. ss. Pr. 

846 ot) Kal Srov 

Om. V R M Es Pr. kat om. I’ 

849 lepea...) TopmetcovTa thy yobvoiav 

Om. V M Pr. Tv noOvotav om. RT Es 

850 atpecOe) éemaipere 

Om. mss. Pr. 

851 dopp08®) cvykaravetow 

Om. mss. Pr. 

852 ovuTapaweoas exw) cvvawd ocvykatatilels 

Om. mss. Pr. 

853 Ext. sig. sup. zpocddu | ottw yap Aeyov tas mporayouévas ois 
Geots troumds 

ovrw de (6€ om. RM) édeyov tas mpoayomevas Tois Oeois mopmas 
(Ovotas I corr. Es Pr.) mss. Pr. 

855 mpooetr) cov 

Om. mss. Pr. 

857 mvOias Boa) Ayouv addynris nvAovv yap év tats Ovorlais 

Om. M. xoal (Boa 6 R) aidAntys eipyrar d€ Kar (? as G pro de 
kat habet ore R ére xai TEs Pr.) ewe rats Ovoias yvAovy V RT Es Pr. 

858 ovvaderw . . .) os adtopdtws émdvtos adtod tats evwxiots, maifer 
avTov 

maile. avTov Om. MSS. Pr. 

It appears from the investigation set forth in this paper that ‘he nodes 


an U on the Aves must be used with great caution tn restoring the text 
of the Old Scholia on this play. 























a 


ay 
=); 
r 














AN UNRECOGNIZED ACTOR IN GREEK COMEDY 


By JOHN WILLIAMS WHITE 














JN the Lysistrata Aristophanes employs a chorus of unmistakable 
| constitution: its members, twelve elderly men and twelve women, 
are distinguished from one another by their sex; furthermore, these 
two divisions, which are easily discriminated by their dress, are hostile 
‘to one another during the greater part of the play. Each half of the 
chorus has its own leader. 

These half-choruses appear in the parodos of the play in succession : 
the men come in first (254), under command of their leader; in due 
course the women follow (319), led by a woman. Each of these parts 
‘of the play (254-318 and 319-349) contains verses that are rendered 
by the single voices of the leaders. Presently (350) a dialogue com- 
‘posed in iambic tetrameters, a rhythm especially suitable for the expres- 
‘sion of billingsgate, ensues between the leaders. Their lively abuse of 
fone another ends in violence: the man threatens to set the woman’s 
hair on fire with his torch and she drenches him with water from her 
‘pitcher. The other women at the same time souse the other men. 
'This scene has its counterpart towards the end of the play (r1orgq ff.), 
but the latter is a scene of reconciliation, and it ends not in violence, 
but with a kiss.? 

__A debate follows (467-613). In this contest of wits, in which 
| Lysistrata establishes the just claim of the women to political leadership . 
‘in Greece, the leader of the half-chorus of women is equally prominent 
! with the leader of the men: she warns the men to have a care (471- 
/475)°; she rallies the women (539-540); she exhorts Lysistrata in 





| 1 254-255, 266-270, 281-285, 306-318, 319-320. Here and elsewhere in this 
discussion the numerals in full faced type indicate parts that I think were taken by the 
‘leader of the second half-chorus. I have attempted everywhere to follow Brunck’s 
) lining. The parts of a single verse are designated by superior lower-case letters. 
2 The scene ends with 1040-1042, which are recited by the leader of the women. 
3 The manuscripts give these verses to the ‘ chorus of women,’ as do the editors 
/ generally, but van Leeuwen assigns them to Lysistrata. The four preceding verses 
| are assigned by the manuscripts to the ‘chorus of men.’ 


104 Fohn Williams White 





















terms of admiration and confidence to go in and win (549-550). Sk 
comes forward also individually in the parabasis* in verses that ju 
match those of the rival leader: she meets his threat with counte|§, 
threat and ranges her companions in order for the singing of the od|},, 
(636-637) ; she praises her sex and taunts and defies the men (648 
657, 696-705 ).” 

The divisions of the play thus far considered are all marked b)}, 
that delicate balance of parts that often in the parodos and always 1|§ 
the debate, the parabasis, and the epirrhematic syzygy unmistakabl|§. 
characterizes an old Attic comedy and distinguishes it structurally fror)¥. 
tragedy. But this play, as every other comedy of Aristophanes, contain|}, 
also single scenes that are not marked by this principle of pairing, bu}. 
correspond, after a fashion, to the episodes and exodes in tragedy. I)}, 
these the members of the chorus participate in the action, but withou/, 
speech; the two leaders, on the contrary, have their share, as occasio;§. 
arises, in both speech and action. 

In the first of these after the parabasis, Lysistrata enters from th)}, 
Acropolis and is hailed by the leader of the women, who speaks i)§ 
trimeters (706-707). Lysistrata is disheartened ; no reliance can bi} 
placed on the women whom she has gathered within the citadel. Shc@ 
is interrupted and eagerly addressed by the leader (710, 712, 714 
716). Other women appear from the main scene and the action pro. 
ceeds. In the following scene Myrrhine airily abandons her doting 
husband, and his disappointed passion finds fit expression in anapaests, 
The leader of the men expresses his sympathy in the same rhythm) 
(959-966) and abuses Myrrhine (968-969) : 





TavtTl pevtor vuvi o erroine 

9 wapdedXvpa Kal Tappvoapa. 
Immediately the leader of the women sharply retorts (970) : 

pa Ad’ adda Pidn Kal TwayyAvKepa. | 
The verse is properly assigned to the ‘chorus of women’ by the manu- 
scripts, just as they assign the two preceding verses to the ‘chorus of 


' The form of the parabasis in the Lysistrata is precisely that of the Frogs, except, 
that it is double. See Westphal, Prolegomena zu Aeschylus Tragédien, pp. 36 and 38. 


* On the rendering of the epirrhema and antepirrhema of the parabasis in comedy, 


SEC(ps LO: | 


An Unrecognized Actor in Greek Comedy 105 



























? 


hen. Nobody but the leader of the women could properly express the 
entiment that this verse (970) conveys. In the episode which begins 
t verse 1072, the chorus alone at first is present; then Lacedaemonian 
‘mbassadors appear, with whose leader a dialogue begins; Athenian 
)nvoys enter and the dialogue is continued. The verses here taken by 
tne chorus are assigned by the Ravenna manuscript to the chorus of 
jen, except those just at the close. This is a natural assignment, — 
“ot determined certainly by modest considerations of sex, since the 
Yomen of the chorus have zo¢ fled from the scene, but by the fact that 
ne other interlocutors are men. But while 1106-1107 are assigned to 
"ne chorus of men in this manuscript, it inserts the lineola before 1108, 
Ynereby indicating a change of speaker. It is fair to assume that 1108— 
111, in which the rhythm changes, were recited by the leader of the 
Yhorus of women. They are directly addressed to Lysistrata and express 
Yonfidence. Cf. 549-550 and 706-707. Both leaders speak in the 
xode.! The servant enters from the Acropolis, the worse for his 
‘ otations, and, when he sees the chorus, drunkenly threatens to set the 
Vomen’s hair afire (1217 f.), suggesting to the audience at the same 
“ime that they may find the spectacle entertaining. The leader of the 
‘omen, with genial appreciation of the situation, promptly adds that 
he and the other women are ready to furnish their share of the fun 
1221). ‘This verse is assigned to the ‘chorus’ in the codex Ravennas. 
| | eer saw that only a woman could properly express the sentiment; no 
Yhort-haired man would serve. Presently, when an Athenian enters 
“-om the banquet, the leader of the chorus of men, in a passage of 
leven trimeters (1228-1238), supports his view that good liquor pro- 
notes fellowship. These verses are assigned to the ‘chorus’ in the 
dex Ravennas and the passage is one of the evidences against the 
teyailing mischievous opinion that no declaimed part of more than 
few verses should be assigned to a coryphaeus. 

The manuscripts recognize half-choruses in this play, the one of 
Iderly men, the other of women,’ although both the Mss. and the early 


11 have discussed the assignment of parts in the exode in Harvard Studies in 
lassical Philology, 11 (1890), 196 f. 
2 The phraseology in codex R is juex (6piov) yur(aikav) before 321 and Aucy (dpi0v) 


 sfore 326 (stc), elsewhere yo(pos) yepdvT(wy) or xo(pos) avd(pGv) and xo(pods) 
w(aik@v), or in a few instances simply yxo(pés). 


106 Fohn Williams White 













editions are in sad confusion in their assignment of many of the parts| 
The scholiast! and the modern editors likewise assume that the choru} 
was divided. Furthermore, Enger, in his edition of the play,? speak 
of a ‘coryphaeus’ of the women ;? Muff, in his assignment of the parts| 
has a ‘ Chorfiihrerin’ as well as a ‘ Koryphaus’ ;* and finally van Leeu} 
wen inserts ‘Dux Mulierum’ as well as ‘ Kopvdaios’ in his text alon; 
with other designations of dramatis personae.® | 

The half-choruses of the Lysistrata are not peculiar to this play; on 
the contrary, the division of the chorus of twenty-four members int 
two half-choruses is, in my opinion, a characteristic feature of the olc 
Attic comedy. Half-choruses are designated in existing manuscripts o 
Aristophanes and are entered in editions of that author for a period of 
nearly three hundred years from the Princeps to the time of Brunck | 
but the record in the manuscripts is scanty and confused,® just as the 
ascription of parts to speakers in the manuscripts is incomplete anc 
inconsistent, chiefly in consequence of the use of compendia for the 
names of the dramatis personae and of the lineola and double dot t | 
indicate change of speaker. Editors of Aristophanes in the nineteentt 
century inclined to ignore the division into half-choruses, except where, 
it was impossible to do this, and contented themselves with the simple 
entry xopos, with no indication of the precise signification they attach) 
| 


1 Cf. Schol. 321: mérov mérov: vov éorw hucxdpiov Td Aéyov ex yuvaiK@y eicepxo: 











uévav dvwbev, iva Kat 7d Vdwp adr&v xaraxéwow dvwhev. 1d 5é GAO TULxdptov é€ 


| 


avopay Katwhev érepyoudvwv Tats év TH akpomdder els troAopkiav. 
? Published in 1844. 
3 See his notes on 706, 797, 821. | 
4 Ueber den Vortrag der chorischen Partieen bet Aristophanes, p. 157 ff. 
> In his edition of the play (1903). | 
6 The facts are as follows for the two oldest manuscripts. I use Brunck’s lining | 
Codex Ravennas: Ach. 557 xo 560 mux 562 nurx 564 — 566— 572 Aauax 575 
xo Vesp. 415 Bde 416 xo 417 — 418 nux 420 favO 422 — bid. 4qi nurx 448 
PX 453 — 456 Boer 457 EavO 458 — 450 olker 460— 461 — 463 nurx 466— 
471 BoeX 473 — 478 Boer 480 nurx Lbid. 1060 nux Pax 1332 Hurxo 1333 add) 
1335— Aves 1720 nucx 1731 érepov Hux Lys. 321 nucx yur 326 nucx Ran. 354 
NeLXop 372 nucxo 382 nucx n cepeds 384 nucx Ec. 1163 nucx 1166b nucx 1167 nuex 
1178 nucx Codex Venetus: Pax 1332 jury 1333 4AdAo (Hucxd supra) 13354: 
13350 — 1336 — 1337 — 1338 1339); 1340 83432 
1347— 1348— 1349: Aves1720 Hux 1726— 1731 ére Hux Ran. 372 nucxof 
eT — 382 nulxp 384 Gddo we xp 402 uéoos yp 416 xp Lbid. 448 nulxp 


An Unrecognized Actor in Greek Comedy 107 


to the word. Furthermore, as will appear in the course of this discus- 
sion, they sometimes curtailed the functions of the chorus in parts that 
were not lyrical, in consequence apparently of their belief in a high 
stage or of preconceptions in regard to what part a ‘chorus’ might or 
might not have in dialogue. Some editors, however, recognized the 
division into half-choruses in other plays than the Lysistrata* and in one 
of them at least all are compelled to recognize it.? 

I refer to the Acharnians. In one scene of this play the two halves 
of the chorus are brought into collision. The scene begins (496 ff.) 
with the long speech in which Dicaeopolis states the case for Sparta. 
At the close of his argument he is threatened by the leader of the first 
half-chorus (557-559), who then angrily addresses the other leader 
(562-563). The latter, in turn, supports Dicaeopolis (560-561, 564- 
565). Here the manuscripts mark the parts of the altercation with 
Hptxopiov* and the editors follow; but the verses are trimeters and 
must have been declaimed by single speakers. The conclusion must be 
that these speakers, corresponding to the man leader and the woman 


* On half-choruses as a characteristic feature of Greek comedy, see R. Arnoldt, 
Die Chorpartien bet Aristophanes, p. 172 ff.; Th. Zielinski, Dze Cliederung der 
altattischen Komédie, p. 249 ff.; A. Couat, Diviston du choeur dans les comédies 
@’ Aristophane, in Mélanges Henri Weil, p. 39 ff. See also Christ, Metrzz?, 
p- 652 ff.; A. Miiller, CGrzechtsche Bithnenalterthimer, p. 219; Haigh, Attic Theatre”, 
p- 346. The three authorities last named all cite Arnoldt’s statistics ( Chorpartien, 
p- 180 f.), but it should be noted that these are not accurate. (See the preceding 
note.) Only once does codex R prefix 7u:xdpuov to ode or antode of the parabasis 
(Wasps 1060), codex V not at all. Arnoldt’s inferences from Bekker’s silence in the 
critical apparatus of his edition were not warranted; but the record of the manuscripts 
is nevertheless significant, and there is other evidence of the strongest character that 
in comedy the division of the chorus into half-choruses was the normal arrangement. 

2 As Bekker in his edition (1827), G. Hermann in his second edition of the Nubes 
(1830), and von Velsen in his editions of the Frogs, Ecclesiazusae, and Thesmopho- 
riazusae. 

3 Even Muff. See his Chorparticen, p. 98 ff. 

4 557 ‘Hux. AT E Vp3 C Ez Mo B VbiI Xop. Rom. Vp2 H 560‘Hux. RAT 
E Vp2 Vp3 H C MgB Vbi om. E2 562 ‘Hux. RT Vp2 Vp3 HC B Vbi om. AE 
E2 Mg 564 ‘Hux. IT E Vp2 H Ez Mg B Vbt —Rom. A Ack. Vp3 C 566 ‘Huy. 
¥ Vp2 H B VbI —Rom. AE Vp3 CE2Mg_= 572 Aau. RT E Vp2 Vp3 HC Ez2 
Mo BVbiom.A_ 575 Xop. R Ax. T E Vp2 Vp3 HC E2 Mg BVbiom.A_ 576 
Xop. lib. omn. 


108 Fohn Williams White 


leader in the Lysistrata, were the coryphaei. The first leader, finally, 
calls for Lamachus and in his excitement breaks into dochmiacs.1 
Lamachus appears. The second leader jeers him (575) in words 
presently imitated by Dicaeopolis, and the first charges Dicaeopolis with 
his offense (576-577). The facts seem to be unmistakable; but if 
the leaders appear as single speakers in this part of the play it is not 
unreasonable to assume that they have the same function elsewhere. 
This assumption is confirmed by the symmetrical arrangement of the 
first parodos.? 

My purpose in this paper is to present the evidence that the leader 
of the second half-chorus, whose existence in Aristophanic comedy is 
not to be denied, probably had a larger function than has yet been 
allowed him. I assume that the division into half-choruses was normal. 
It may be well, before proceeding with the consideration of the second 
leader’s activity in declaimed and recitative parts of the plays, where he 
was essentially an actor, to note his lyric function. ‘This was larger than 
that of any other member of the half-chorus to which he belonged, for 
he was not only leader in the antodes which the members of the second 
half-chorus sang, or danced and sang, together, but appeared also in the 
commatic antodes as a soloist, in lyric dialogue with one of the actors. 
Amoebaean odes and antodes abound in the comedies of Aristophanes. 
In some of these the correspondence in ode and antode is not between 
leader and leader, but between one of the leaders and an actor, as in 
Acharnians 929-939 = 940-951, where in the ode Dicaeopolis sings 
936-939 and the second leader four of the corresponding verses, 948— 
Q51. It is improbable that the whole half-chorus sang the verses last 
mentioned, twelve voices responding to one. ‘The melody of the solo 
in the ode would not be adapted to choral rendering in the antode. 
We must assume, then, that the single voices of the two leaders here 
rendered, in ode and antode respectively, the parts assigned to the 
‘chorus’ in the manuscripts. Compare with this 403-429 = 461-487 
in the Wasps, where the ‘chorus’ have 403-404 and 416a in the ode 





1 Vv. 566-571 are not the metrical equivalent of 490-495 and do not, as SOS, 
as the beginning of the second half of a syzygy. 
> See below, p. 120 f. 





An Unrecognized Actor in Greek Comedy 109 


and Bdelycleon 461-462 and 4722 in the antode.! Verses 406-433 of 
the Birds, although not antistrophic, afford an excellent example of a 
lyric duo. Here rhythm answers exactly to rhythm in the question and 
answer of chorus and actor until just at the close of the number.” In 
many of these amoebaean odes and antodes the correspondence is exact. 
Here we may feel doubt whether the parts assigned to the ‘chorus’ 
were rendered by a single voice or by twelve voices, but the inference 
from analogy in favor of the dual rendering of ode and antode is con- 
firmed by considerations of meaning. The sentiment is often such that 
it seems somewhat absurd to assume choral rendering in answer to 
the solo of an actor. Compare Acharnians 1008-1017 = 1037-1046, 
Peace 856-867 = go9-921.? 

I resume the consideration of those parts of comedy in which verses 
in declaimed or recitative rhythm assigned to the ‘chorus’ were rendered 
by a single voice and were probably taken, in due turn, by one or the 
other of the leaders of the two half-choruses. 

The leader of the second half-chorus certainly seems to take part 
individually in the paired or epirrhematic portions of comedy. In the 
debates and syzygies, in particular, the verses assigned to the ‘chorus’ 
that immediately follow the antode naturally belong to him. These 
commonly express exhortation addressed to an actor and correspond in 
position and sentiment to an equal number of verses that follow the 
ode. The debate in the Birds begins with the customary ode (451- 
459) rendered by the entire first half-chorus. On its conclusion, the 
leader of this half-chorus addresses Peithetaerus in words of encourage- 
ment (460-461). The epirrhema, in which Peithetaerus convinces the 
birds of their hereditary right to the sovereignty of the universe, and 
the macron follow. Then these four parts are repeated in antode, 
counter-exhortation, antepirrhema, and antimacron. After the antode, 


1 Cf. also Peace 459-472 = 486-499; Thesmophoriazusae 667-686 = 707-725; 
Wasps 291-302 = 303-316; Birds 1313-1322 = 1325-1334, where the manuscripts 
assign 1315 to Peithetaerus, but 1327 to the ‘ chorus.’ 

2 For the distribution to the two leaders of the half-choruses of the verses here 
assigned to the ‘chorus’ in the manuscripts, see below, p. 122. 

3 For other examples, cf. Acharnians 284-302 = 335-346; Wasps 334-345 = 
365-378, 526-545 = 631-647; Peace 939-955 = 1023-1038. For a discussion of 
this question, see Zielinski, Gederung, p. 260 ff. 


I1O Fohn Williams White 


sung by the second half-chorus, the two verses of the counter-exhortation 
(548-549) immediately follow. These are addressed to Peithetaerus 
in terms of confidence. ‘They are in the same rhythm as 460-461 and 
were taken by a single voice. Surely the natural supposition is that 
they were recited by the leader of the second half-chorus who has just 
conducted the antode. Instances of this paired function of the leaders 
are not rare. Compare Knights 407-498 = 333-334, 841-842 = 761— 
762; Clouds 1034-1035 = 959-960, 1397-1398 — 1351-1352; Wasps 
648-649 = 546-547; Lysistrata 540-550 — 484-485. This paired 
relation of the leaders is sometimes found in epirrhematic syzygies. 
In the Thesmophoriazusae, after the ode (667-686), two trochaic tetra- 
meters (687-688) recited by the first leader introduce the following 
trimetrical epirrhema. Corresponding to these are two trochaic tetra- 
meters (726-727) that follow the antode and are taken by the second 
leader. Compare in the Acharnians 391-392 = 364-365, where the 
single voices of the leaders are heard in trimeters, following respectively 
the excited dochmiacs of the entire half-choruses, and Wasps 379-380 
= 346-347 in the first parodic syzygy (333-402). Compare also, in 
the first debate in the Knights, 3389-390 = 312-313. 

How the epirrhema and antepirrhema of the parabasis in comedy 
were rendered is a question about which scholars have held divergent 
views. G. Hermann thought they were recited by- the leaders of the 
two half-choruses who rendered the ode and antode.t Enger suggested 
that they were taken respectively by four members of each half-chorus.? 
Westphal held that ode and epirrhema constituted a single lyrical num- 


ber and were both rendered by the whole chorus with dance and song.® 


In support of this view that ode and epirrhema were parts of a single 
whole, he laid weight on what he thought was the intimate logical 


1 «<¢ Et primae quidem tres partes a coryphaeo recitantur; émippyua et avrerippnua 
autem a ducibus hemichoriorum.’’ LZfttome Doctrinae Metricae*, p. 240. See also 
his review of Kolster’s De parabasi in Jahn’s Fahrbicher, XI (1829), p. 300. 

2 Rheinisches Museum, N. ¥. X (1854), p. 119. Enger assumed that, at the 
time he made this suggestion, the opinion prevailed generally that the ‘ coryphaeus’ 
recited both epirrhema and antepirrhema. See also Christ, A7/ed»7h*, p. 667 f. 

3 Prolegomena zu Aeschyius Tragodien (1869), p. 40 ff. See also Allgemeine 
Theorie der musischen Kénste®, Ill, 1 (Allgemeine Theorie der griechischen 
Metrik), p. 250. 








An Unrecognized Actor tn Greek Comedy Itt 


connection between verses 1171 (end of the antode) and 1172 (begin- 
ning of the antepirrhema) in the second parabasis of the Peace. But it 
has been pointed out that this connection is fictitious... A complete 
sentence ends with 1171 and a new theme — the hardships of war — 
is taken up in the following antepirrhema. When, furthermore, we 
consider the contents of the epirrhemata and antepirrhemata of the 
parabases, it is difficult to believe that they were rendered by twenty- 
four persons in song, with the accompaniment of the cordax. These 
were topical addresses to the audience, full of local hits. The first 
consideration must have been that they should be so rendered that the 
audience could take the jokes. It must frankly be confessed that this 
point, as countless other questions which the modern interpreter of 
Aristophanes must face when he attempts to determine the scenic 
presentation of a play, cannot be finally settled. Happily these were 
not questions at all for the audience that gathered in the ancient theatre 
to see the play as well as to hear it. If the simple solution that Hermann 
proposed is finally adopted, it is obvious that the second leader had a 
large and important function in the parabasis, although it was inferior 
to that of the first leader. 

So far as I am informed, Hermann did not employ this principle 
elsewhere than in the epirrhemata of the parabasis ; but he went farther, 
and applying the results of his studies in Aeschylus to Aristophanes 
affirmed the extreme view that all twenty-four members of the comic 
chorus might appear in succession as soloists, indifferently in lyric and 
recitative rhythms, in rendering a continuous passage. He exemplified 
this view in a well-known article, published in 1843,” in which he redis- 
tributed the parodos of the Wasps among the members of the chorus 
and the actors. Arnoldt, after a series of preliminary studies, applied 
Hermann’s principle to eight comedies of Aristophanes in a book? 
whose chief merit, in my opinion, is its acute argument in support of 
the theory of half-choruses in comedy. Finally, Zielinski in a remark- 
able investigation* rejected Arnoldt’s conclusions for the eight plays 


1 Arnoldt, Chorpartien, p. 142. 

2 De choro Vesparum Aristophanis, Opuscula VIII, p. 253 ff. 
3 His Chorpartien, cited above. 

4 His Gliederung der altattischen Komédie, cited above. 


112 Fohn Williams White 


and reverted to Hermann’s theory of dual rendering, but applied it — 
and with serious limitations at that — only to the epirrhematic parts of 
comedy: parodos, debate, parabasis, and syzygy. A ‘coryphaeus,’ how- 


ever, appears elsewhere in comedy, in single scenes, episodes, exodes, | 


and even a prologue, and it is manifestly inconsistent to assume that 
only one leader has a function in these parts if two are active every- 
where else. 

The debate is now a recognized division of the old Attic comedy, 
thanks to the acute observations and investigations of Westphal,’ Zie- 
linski,? and Humphreys.? It is a regular feature of the epirrhemata of 
nearly all the complete debates that the two persons at odds appeal to 
a third, whom they try to convince of the justice of their respective 
claims, and that this third person with one exception has a speaking 
part, but relatively a limited part, in the discussion. In the first debate 
in the Knights (303-460) and in the Birds (451-637) this third person 
is the chorus, represented by its two leaders; in the second debate of 
the Knights (756-942), it is Demus; in the Clouds (949-1104), Phei- 
dippides, who is present and appealed to, but does not speak; in the 
Wasps (526-727), Philocleon, who is at the same time the second party 
in the debate, but whom his son is struggling to convince of the error 
of his ways; in the Frogs (895-1098), Dionysus, who is so important 
a personage that some editors have assigned him the hortatory verses 
(905-906 and 1004-1005),* following the ode and antode, that else- 
where are delivered by the two leaders.® Another or even two other 
speakers, but with inferior parts, may be present, as Demosthenes in the 
first debate of the Knights, the chorus in the second, Euelpides and the 
Hoopoo in the debate of the Birds, and the First Woman and Second 
Woman in that of the Lysistrata. 

Zielinski misinterprets this characteristic feature of the epirrhemata 
in the debates and lays down the singular and untenable principle that 


1 Theorie der musischen Kiinste*, Wl, 11 (Specielle griechische Metrik), p. 133 ff. 

2 Gliederung, p. 9 ff. 

* American Fournal of Philology, VIII (1887), p. 179 ff. 

4 The manuscripts give 905-906 to Dionysus, but — so far as they make an assign- 
ment — 1004-1005 to the chorus. 

® See above, p. 109 f. 








An Unrecognized Actor in Greek Comedy Ilys 


the chorus cannot appear in them as a speaker,! although the applica- 
tion of this principle forces him to deal with the traditional ascription 
of parts in the manuscripts in a very arbitrary manner. In the epir- 
rhemata the two debaters hold the floor, —in the Clouds without inter- 
ruption, although Pheidippides is the person to whom they address their 
arguments.” Why the chorus takes no part here, nor in the second 
debate in the Knights and in those of the Wasps and Frogs is obvious: 
it is not the person addressed. In the Birds the situation is different. 
The debate in this play preserves the prescribed fixed form, but there 
swim reality a single debater, Peithetaerus. In the epirrhema he 
endeavors to convince the Birds, namely the chorus, that sovereignty is 
rightly theirs ;3 in the antepirrhema he develops his plan for securing it. 
Euelpides is Bwporoxos throughout. It is doubtful whether the Hoopoo 
should be allowed to speak in the epirrhema at all; if he appears in the 
antepirrhema, it is as supporter and ally of Peithetaerus.* The chorus 
is the important personage to whom Peithetaerus in both parts addresses 
himself, and as we should expect the manuscripts recognize its presence 
as a speaker, exactly as Demus and Dionysus are recognized and take 
part in the Knights and Frogs. It is the ‘chorus’ who say at the 
beginning of the debate: 4646 damrvycomev peAXomev; 7H Ti; 467d 
mpcis Bacireis; Tivos; 470D Kal yns; 4704 rovri pa Ad’ ovk éze- 
muouyv. Here, as elsewhere in many instances, the manuscripts report 


1 Die Glhederung, p. 117 ff. 

2 Clouds 990 mpds Tatr w pepdxiov xré. 1000 ef Tadr w pepdKiov KTé. 1002 
GXN ody \urapds ye KTé. 1009 7Y Tatra Toys KTé. I071 oxéWar yap w jeupdKuoy 
xré. Inthe Knights Demus is addressed in like manner, and he answers, when occa- 
sion requires. Cf. 767 ff., 769 ff., 773 ff., 777 ff., 786 f. (Demus speaks), 700 ff., 
820 f., 821bf. (Demus), 823 ff., 850 ff., 858 f. (Demus), 860 ff., 868 ff., 870b 
(Demus), 871 f., 873 f. (Demus), 875 ff., 883, 884 ff. (Demus), 891b f. (Demus), 
$93 ff., 3955 (Demus), 896 ff., 899 (Demus), 900, 901 (Demus), 904) f., 906 f., 
908, 909, 910, 9114, g11b. 

3 Note the phraseology in 462: kal mporepvparac ddyos eis wor. This refers to his 
task in the epirrhema. eis is not to be ‘ emended.’ 

4 So far is he from being the other debater, as Zielinski thinks (p. 16). The 
Hoopoo is thoroughly convinced of the wisdom of the plan even before the chorus 
appears. Cf. 194-197. Meineke and Kock exclude him altogether from both ant- 
epirrhema and epirrhema. 


114 Fohn Williams White 


divergent traditions, but there seems to be no doubt that they agree in 
recognizing the presence of the chorus. 

The situation is the same in the first debate in the Knights (303— 
460). After Cleon and his adversary, the most important person in 
the scene is the chorus, and the manuscripts record the fact.2. Demos- 
thenes is Bwuordyos and has an inferior role. Some editions make 
him unduly prominent. 

When now the ‘chorus’ comes forward in the debates in other than 
lyric parts, it is reasonable to conclude that it is represented by the two 
leaders of the half-choruses; the first leader appears in the first half of 
the debate, and the leader of the other half-chorus in the second. 

The same assignment of paired functions occurs in the syzygies, but in 
these, especially in the trimetrical syzygies, the chorus by the economy 
of the drama has relatively an unimportant part, except in ode and 
antode. Nevertheless both leaders appear. In the Knights the first 
leader addresses the Sausage-man (611-614) on his triumphant return 
from his bout with Cleon before the Senate. This is the leader of the 
half-chorus that immediately breaks into song and dance. ‘The first 
leader also has the single verse in the Wasps (728) that introduces the 
following ode. The preceding anapaestic tetrameters (725-727) that 
end the debate have been recited by the second leader. In the Peace 
the first leader, who has just had an active part in the preceding 
commatic ode (459-472), participates (479-480) with Trygaeus and 
Hermes in the following trimetrical dialogue.* In the Birds the first 


‘ The record in eleven manuscripts is as follows. Epirrhema: 4646 Xop. RVT 
M Vp2 HC Ez Mo Bom. A 467b Xop. RAT Vp2 HC Ez M9 B: V—M 47ob 
Xop. RA Vp2 HC: V—M’Er.T E2 MgB 470d Xop. RA Vp2 HC —M ‘Er. 
VT E2 MgB 476 Xop. A Vp2 H Com. R M —V’Enr. T E2 MoB 511 Xop. Vp2 
H C Ev. 7 Xop. T B EY. AE2 Mg om. M—V’Em. R_ Antepirrhema: 553 Xop. A 
T Bom. V M E2—R’Em. Vp2 HC Mo _ 555 Xop. Vp2 HCom. RVAT M Ez 
Mo B_ 587b Xop. ' Vp2 HC Bom. M—RV ‘Er. AE2 Mg _ 592 Xop. Vp2 HC 
—RVAM’Exr. T E2 MgB 595 Xop. Vp2 HC om. M—RVA/‘Ez. T E2 Mg 
B 603 Xop. H C om. Vp2 B—RVA/’Er.T M E2 Mg 606 Xop. Vp2 HC —RV 
A’Er. I M Ez Mo B 608b Xop. Vp2 H C om. VA —R M’Ez. TI E2 Mo B 

* See the report on the manuscripts in Zacher’s edition (1897), v. 337 ff. 

3 In the fourth syzygy of the Peace (922-1038) the early editions, including the 
Princeps and the first Juntine, and most modern editors make the chorus one of the 
speakers in the dialogue in verses 922-938. Cod. R and Cod. V assign 922 to the Gepa- 





An Unrecognized Actor in Greek Comedy Wits 


leader, when the messenger leaves the scene and Peithetaerus is lost in 
reflection, recalls him to the situation (1164-1165), and the second 
leader delivers the exhortation in trimeters that immediately follow the 
ode (1196-1198). In the Thesmophoriazusae the first leader prefaces 
the First Woman’s speech with an appropriate remark in iambic tetra- 
meters (381-382). In the first syzygy of the Wasps (334-402), which 
is parodic, the first leader, when the commatic ode has been sung, 
continues the dialogue (346-347, 350-351, 354-355) in recitative with 
Philocleon, with whom he has just been singing a duo. The second 
leader has verses that correspond, after the antode (3'79-380, 383-384, 
387-388). In the following parodic syzygy (403-525) their respective 
parts are heavier (403-404, 4168, 417-419, 422-425, 428-429, 437, 
441-447, 453-4553; 473-477, 480-483, 486-487). 

Omitting the consideration of the parodos for the present, I proceed 
to discuss the single or unpaired parts of Attic comedy. In these the 
fact of the appearance of the second leader as a speaker may seem less 
certain, since the indications furnished by ode and antode are lacking. 
The probability, however, that he comes forward actively in these parts 
in all the plays is supported by three considerations: first, granted that 
he speaks in the double or paired parts, it would be singular if he should 
be wholly silent elsewhere ; secondly, the evidence is complete and is 
generally accepted by the editors of Aristophanes that he does appear 
in two of the plays in unpaired parts ;' thirdly, the recognition of his 


mTwv, 923 to Trygaeus, and thereafter they mark the distribution of parts by the lineola. 
The verses ordinarily assigned to the chorus should probably be given to the o/kérns. 
The chief reason for this is not that R and V seem to make this assignment, but that 
slight participation of the chorus in the dialogue is characteristic of the trimetrical 
syzygies, that is of all except the two parodic syzygies in the Wasps. Dobree first 
assigned these verses to the olkérns (Adversaria Critica, IV, p. 212). The oikérns 
has a correspondingly important part in the second half of the syzygy. In this some 
modern editors assign 9735 and 978-986 to the chorus against the authority of R and 
V and the second Juntine edition. (The verses are omitted in the Princeps and first 
Juntine edition.) Similarly in the first syzygy of the Birds, Beer, Uber die Zahl der 
Schauspieler bet Aristophanes, p. 37, assigns 8092, 811-812, $14b-816, 817b-8192, 
820, 826-827, 829-831 (?), 833-8352, to the chorus without manuscript authority. 
He is followed in the main by Muff; van Leeuwen also introduces the Coryphaeus 
into this scene, excluding the Hoopoo from the action of the play altogether after the 
parabasis. 

' Ach. 560-561, 564-565, 575 (see above, p. 107 f.); Lys. 706-707, 710, 712, 
714, 716, 970, 1108-1111, 1221 (see above, p. 104 f.). 


116 Fohn Williams White 


presence, to which there can be no inherent objection, often lends great 
vivacity to the action. 

Single scenes abound in the comedies of Aristophanes ; they are found 
in each play, but occur chiefly in the first half of it. With one excep- 
tion they are trimetrical. They rarely close with an anapaestic or lyric 
movement, but are so placed in the general scheme of the development 
of the action as commonly to be followed by verses in another rhythm, 
frequently by a lyric. The preceding part also generally ends in a 
different rhythm. The scene may include within its limits inserted 
lyrics, or parts written in long rhythms, or even passages in prose. The 
chorus appears in about one half of these scenes as a speaker, the lyri- 
cal parts not included. This ‘chorus’ is sometimes addressed by the 
actors in the singular number, and is thus individualized. Assuming 
that ‘chorus’ in this case signifies not a single coryphaeus but the 
leaders of the two half-choruses, the distribution of the parts in certain 
of the plays might be as follows. 

In the first scene of the Knights (461-497) the leaders are in agree- 
ment, as is generally true, and both support the hero of the play. The 
second leader has just bestowed words of hearty praise (457-460) on 
him, at the close of the preceding debate, for his gallant struggle against 
Cleon. In the following dialogue Cleon shows unexpected command 
of metaphor and the first leader is dismayed (464) ; when the Sausage- 
man rallies and answers in kind, the second leader breaks forth in joyous 
approval (470). ‘Towards the close of the scene, when Cleon makes off 
to lay his case before the Senate, the first leader exhorts the Sausage- 
man to follow (482-487) and hands him oil (490-491) with which to 
smear himself for the coming struggle, and the second leader primes 
him for the fight with garlic (4934, 494-4952) and bids him God-speed 
(495°-497). The effect of the bustling action of this scene is much 
increased by assuming three participants. The important fact, which 
is by no means unique, should here be noted that the last of these 
verses (from 490) are assigned by all the manuscripts to the chorus, 
but to Demosthenes by the recent editors, who record that Enger made 
the ‘correction.’ The change is doubtless due to a belief in a high 
stage ;1 the editors thought the action impossible. But probably both 


1 See Harvard Studies in Ciassical Philology, Il (1890), p. 173 f. 








An Unrecognized Actor in Greek Comedy 117 


‘“‘old-stagers’’ (who are coming to be low-stagers) and ‘‘no-stagers”’ will 
now agree that this is not sufficient reason for refusing to accept the 
assignment of parts made in the manuscripts. Similarly, in the last 
scene in this play (1151-1263) some editors refuse to give 1254-1256 
to the chorus, although to assign them to Demosthenes brings four 
actors on the scene at once. ‘These verses, | think, were spoken by the 
first leader, and the preceding verse (1253) by the second.’ The 
representatives of the chorus acclaim Cleon’s conqueror. 

In the first scene of the Peace (426-458), in which libations are 
made before the attempt to rescue Peace, actors played the roles of 
Trygaeus and Hermes. By the tradition of the manuscripts the chorus 
also took an important part. If we assume that both leaders spoke, 
their parts are easily determined. The first leader in serious tone urges 
Hermes to take direction of their attempt (428-430). He follows the 
three verses of the prayer offered by Trygaeus with three of similar 
import (444-446) ; he forbids libation to Ares (4572) and finally gives 
command to all to lay hold on the ropes (458). The second leader 
speaks in lighter vein (439-440, 450-453, 455, 457¢). There is hardly 
a scene in Aristophanes in which somebody does not play the part of 
Bwpodrcxos. In the second scene of this play (508-549), in which the 
final effort to restore Peace is successful, the first leader again has the 
superior part (508, 512, 517-519) ; the role of the second is subor- 
dinate (510, 514-515). The scene is in part lyrical. 

In the first scene of the Birds, which is short (434-450), probably 
the second leader alone takes part (4425-4432, 4448, 445-446a, 447). 
Both have been active in the close of the preceding parodos. Similarlv 
in the scene that immediately precedes the parabasis the second leader 
probably makes the genial suggestion that Peithetaerus and Euelpides 
shall be given a good breakfast and Procne be sent out to ‘play with’ 
the chorus (6582, 658c-660). The first leader, at the close of the 
preceding debate, has just recited the anapaestic tetrameters (636-637) 
that follow the lyric sung by the whole chorus and serve as an introduc- 
tion to the following scene. 

Both leaders have a part in the scene of the Thesmophoriazusae in 
which the sex of the unhappy Mnesilochus is revealed. At the approach 


1 Cod. A assigns 1253 to the chorus, 1254-1256 to Demosthenes. 


118 Fohn Williams White 


of Cleisthenes, the first leader stops the wrangling of Mnesilochus and 
Micca (571-573) and the second welcomes Cleisthenes with a jest 
(582-583) and speaks the appropriate verses that follow (589, 607). 
The first leader takes the situation more seriously (586, 597-602, 613- 
614). 

That part of a comedy which in its form most nearly resembles the 
single scene which we have been considering has been named ‘ episode.’ 
The name has been transferred from tragedy and is appropriate in so far 
as these episodes are always followed at least by an ode and antode (a 
‘stasimon’), and with a single exception are trimetrical. They do not, 
however, differ essentially from ‘scenes’: they are not paired, they are 
composed in the same rhythm, they may include within their limits lyric 
or anapaestic passages; but, on the other hand, they are in general 
longer, they are always followed by a double lyric and they occur only 
in the second half of the play. In consequence of the fact last stated, 
the ‘coryphaeus’ does not often appear in them as a speaker, since this 
is that part of a comedy in which, after the theme has been revealed 
and established, it is illustrated by the successive appearance of many 
characters, who would render active participation of the leaders of the 
half-choruses, except in lyric commoi, unnecessary or awkward. In 
the Birds only four of the twenty-one characters that speak appear 
before the parabasis; nineteen appear after it. We observe, therefore, 
that the leaders’ function is almost always confined to the beginning of 
the episodes. One of them may announce the coming of a new charac- 
ter, as in Acharnians 1069-1070, or welcome him immediately on his 
appearance, as in Wasps 1297-1298, or briefly engage him in dialogue 
at the beginning of the episode when as yet only one actor has appeared, 
as in Lysistrata '706—707, '710, 712, 714, 716. Both leaders may take 
part, as in the first episode of the Plutus (627-770), where the first 
leader addresses an inquiry (631-632) to Carion when he enters from 
the house of Chremylus, and shouts with joy in dochmiacs (637) when 
he answers. Carion continues ‘ Rejoice ye must, whether ye will (Bov- 
AnoOe) or not,’ and the second leader breaks forth (639-640), also in 
dochmiacs. 

The law thus established, that trimetrical participation of the leaders 





1 @ mat he says to Cleisthenes, but the first leader (602) & mpdteve. 








An Unrecognized Actor in Greek Comedy 119 


of the half-choruses is confined in episodes to the beginning enables us 
to deal confidently with two doubtful cases. In the first episode of the 
Knights (943-972), Enger assigned 970-9712 to the chorus and the 
editors have adopted his change. The manuscripts assign the verses to 
Demus? or to Cleon ;? no manuscript attributes them to the chorus. 
They are entirely appropriate to Demus, who is the person on the scene 
chiefly interested in the oracles. When he says wy’ otroci airéy adxovon, 
he refers to the first leader who stands near at hand.? The Sausage-man 
has 971b. In the fourth episode of the Plutus (959-1096), the three 
oldest manuscripts (R V A) assign 962—963 to the chorus, consistently 
with the poet’s general practice. The following verse announces an 
introit, and the next two verses (965-966) belong to the person who 
now enters from the house. The Ravenna manuscript assigns these 
either to the chorus, which is manifestly impossible, or to an oixérys ; 
V gives them to Carion; A U to Chremylus. V assigns 970-9714 also 
to Carion, but thereafter gives the corresponding parts persistently to 
the chorus as far as ro4ob—1041.* We refuse to follow the ascription 
in V,°> not only because A consistently assigns all these verses to Chre- 
mylus, but also because such participation as this of the chorus as actor 
cannot be paralleled in any other episode. 

The exode of a comedy also isa single part. A ‘coryphaeus’ appears 
in the exode in all the comedies of Aristophanes except the Frogs and 
Plutus,® and here as elsewhere the distribution to the two leaders of the 
verses assigned to the ‘chorus’ is made without difficulty and adds 
vivacity to the action. Compare the dialogue in the Knights, followed 
by the introit of rejuvenated Demus (1319-1320, 1322, 1324, 1329— 
1330, 1333-1334). In the Thesmophoriazusae the leaders conspire 
with Euripides against the peeler (1164, II70-I171, 1217, 1218b— 


Cod. ReA IGM. 

27 €od= Vi Vip3. 

3 Compare passages in which one of the leaders is addressed in the singular number, 
e.g. Peace 454, where Trygaeus says ( uovoy eye, and the leader answers iy uovov 
A€yw; cf. also Birds 444> with 445-4462, 447, and note 407. 

4 Except 974 to Carion, 1019 to the Old Woman (where the compendium for 
‘pads was confused with that for Xpéuvdos), and 1021, 1033, where the lineola occurs. 

° Probably the scribe has confused the compendia for xopds and Xpéuvdos. 

® T assume that the last verses in each play were taken by the whole chorus. 


120 Fohn Williams White 


1219, 1220b-1221, 1223-1224, 1226). Sometimes the second leader 
enforces or caps a sentiment just expressed by the other, as in the 
Clouds (1454-1455, 1458-1461) and Acharnians (1228, 1230). 

The parodoi in Aristophanes vary in form. In each instance the 
poet has employed the particular form that is best adapted to carry 
forward the action at this important stage of its development. Here 
the chorus made its first appearance and dominated the scene. In the 
earlier plays in particular it often came swinging into the orchestra, 
probably four abreast and six deep, to the rhythmic movement of long 
recitative rhythms; but whether it appeared in this compact form or— 
to pass to the other extreme —in apparent disorder, as in the Birds, 
the division into half-choruses seems to have prevailed. The main 
parodos in only two plays lacks ode and antode and in each of these it 
is brief and is immediately followed by a paired part that begins with a 
lyric.t Indications are not lacking that this recognized division of the 
chorus effected a symmetrical, paired development of the beginnings of 
some of the parodoi. In the first parodos of the Acharnians (204-346), 
the ode and antode (208-218 = 223-233) are each introduced by four 
trochaic tetrameters. On conclusion of the antode, some member of 
the chorus in three trochaic tetrameters (234-236) exhorts his comrades 
to make search for the offender. Then the warning voice of Dicaeopolis 
is heard —ecigdnpcire edpnueire—as he enters from his house with his 
family to celebrate the rural Dionysia, and again three trochaic tetram- 
eters (238-240), in which the speaker enjoins silence and withdrawal 
from view. ‘The ode and antode were taken by the two half-choruses ; 
it seems probable that their two leaders respectively recited the verses 
indicated (204-207, 234-236, and 219-222, 238-240).? The principle 
seems to prevail also at the beginning of the resumption of the parodos 
(Parodos II). When Dicaeopolis has finished the phallic song, the 
chorus emerges from concealment and the leaders urge an attack upon 
him, the first in two trochaic dimeters (280-281) : 


1 Knights 247-302, immediately followed by the debate; Peace 301-345, immedi- 
ately followed by a trimetrical syzygy in the order of (1) ode, (2) epirrhema. 

2 It is not without significance that some of the manuscripts insert 7ucxédpiov before 
parts of this parodos, however confused the ascription may be. ‘This assignment is 
made before 208 and before ofuo. in the same verse in T E Vb1 Mg E2 B; before 
ofuo. in 208 in Vp2 Vp3. 








An Unrecognized Actor in Greek Comedy I2I 


oe et k e 
OUTOS avTOS €OTLY, OUTOS* 


Barre BadrrAc BarrAc Barre. 
The second takes up the charge, with change of rhythm, in two cretic 
dimeters (282-283) : 

Tale mas Toy pLapov" 

ov Bareis; ov Bareis; 


But parodoi composed in this symmetrical fashion throughout would 
have been monotonous and not well adapted to express the lively and 
vigorous action that characterizes this part of comedy. We find, there- 
fore, that exact correspondence ceases in many of the parodoi, when 
the members of the chorus are once securely in position on the floor of 
the orchestra, and passes into apparently irregular dialogue. As the 
chorus in the Knights enters, the first leader recites four trochaic 
tetrameters (247-250). The second leader, marching with him in the 
front rank, takes the four that follow (251-254).' The chorus is hostile 
to Cleon, and he appeals to the heliasts for help. The first leader 
assails him in bitter language (258-265) ; in a moment of weakness he 
endeavors to propitiate his adversaries, but is at once attacked by the 
second leader (269-272) and cries out. The first leader taunts him 
(274) and the Sausage-man comes into the action,” gallantly supported 
by the second leader (276-277). Cleon now faces three opponents. 
The scene gains in liveliness with numbers. 

The parodos of the Wasps formed the subject of G. Hermann’s 
special investigation. He distributed the opening verses (230-247) 
among six members of the chorus, as Starkie later among four.* Never- 
theless only two persons seem here to be characterized, and the charac- 
terization is marked. One, who has not yet lost his vigor although he 
is an elderly man, urges his comrades to make haste, addressing some 
of them and naming others (230-234). The second, whose mind 


1 Note that his verses begin with d\X\a and cf. Arnoldt, Chorpartien, p. 10 and 
63; Muff, Dze chorische Technik des Sophocles, p. 15 f. 

* The manuscripts assign 258-265, 269-272, 274, 276-277 to the chorus; 266— 
268, 273 to Cleon; and 275 to the Sausage-man. Cod. © assigns 282-283 also to 
the chorus. 

3 See above, p. III. 

* See his admirable edition of the Vespae (1897), pp. xxviii and Ig. 


122 Fohn Williams White 


dwells on the past, recalls not without pleasure a youthful adventure in 
Byzantium (235-239). The first interrupts this strain of anecdote and 
again urges haste and gives a reason. His verses begin with aA 
éykov@mev avdpes and end arAdAad orevdwpev wvdpes HALKES aply Bucpay 
yeverOar (240-245). “Aye,” says the second, “‘we must be going, but 
it is a deuce of a bad road” (246-247). The rhythm now changes, 
and it is the second leader who talks with the boy that carries the lamp 
to light the way of the second half-chorus. ‘“’Tis a bad lamp,” the 
old man says with melancholy insistence, ‘“‘and a bad boy, and foul 
weather.’”’ The other leader, still eager to be going, impatiently wonders 
why Philocleon fails to join them. He must be roused with a song. 
The Ravenna manuscript prefixes the lineola to verse 266. 

The parodos of the Birds is an excellent illustration of the poet’s skill 
in devising a form suited to the theme. The chorus probably enter in 
regular formation,! but break rank at the eloodos and run chirping and 
calling in confusion about the orchestra. It seems not unlikely that 
verses 310-312 and 314-316 (dochmiacs) and 319 were taken by the 
united chorus. The Hoopoo, in 320-321, repeats his fatal announce- 
ment and the two leaders assail him with reproach (322-3234, 323¢, 
3258, 3202). The two half-choruses then rapidly reform for ode and 
antode; the first half-chorus sings and the second dances, the second 
sings and the first dances. Presently they advance to the attack (364, 
365). At this point the Hoopoo intervenes and the leaders reply 
(369-370, 373-374, 381-382, 385). In the lyric dialogue that ends 
the parodos, both leaders take part, the first leader, who has recited the 
introductory anapaests, beginning (406, 408, 410-411, 414b-415, 417— 
420,7 426, 428, 431-433). It can hardly be denied that this lively 
scene gains in vivacity by giving the second leader a part. 

The first parodos of the Peace is extremely vivacious. The chorus 
has been summoned to rescue the goddess and comes marching into 
the orchestra joyous and exulting. As in the Acharnians and Knights, 
each leader has four trochaic tetrameters (301-304, 305-308). The 


1 Six birds are named in verses 297-301, the first file, and six each in verses 302, 
303, 304- 

* Here the number of the verb changes; the second leader is thinking especially 
of Peithetaerus and says 6pa tu xré. The first leader has previously used plural and 
dual forms, referring to both the strangers. 











An Unrecognized Actor in Greek Comedy 123 


chorus forms in separate half-choruses, facing the audience and Trygaeus, 
who is the only other person on the scene. He deprecates their noisy 
entrance, in fear that they may rouse the demon of War within, and 
each leader answers, the second in his joy shouting aloud (311-312, 
316-317). Trygaeus again remonstrates with them, whereupon each 
leader begins to dance, and the half-choruses imitate them in pantomime. 
The dancing continues through the dialogue, the leaders concerting 
their movements. 


TryGaEus (addressing both leaders) 
‘Zounds ! you’ll surely be our ruin: stop your clamour, I entreat: 
He will by and bye come trampling everything beneath his feet.’ 
First LEADER (d0¢h leaders begin to dance) 
‘Let him stamp, and tramp, and trample, let him do whaie’er he will, 
I am so immensely happy that I really can’t be still.’ 
TryGaEus (looking from one to the other in despair) 
‘What the mischief! What’s the matter? do not, by the Gods, I pray, 
With your dancings and your prancings spoil our noble work today.’ 
SECOND LEADER 
‘Really now I didn’t mean to: no, I didn’t, I declare: 
Quite without my will my ankles will perform this joyous air.’ 
TRYGAEUS (addressing the second leader) 
‘Well, but don’t go on at present; cease your dancing or you'll rue it.’ 
SECOND LEADER 
‘Look, observe, I’ve really ceased it.’ 
TRYGAEUS 
‘So you say, but still you do it.’ 
SECOND LEADER 
‘Only once I do beseech you; only just a single hop.’ 
TRYGAEUS | 
‘Well then, one: make haste about it; only one and then you stop.’ 
First LEADER (doth leaders dance vigorously) 
‘Stop? of course we stop with pleasure if ’twill your designs assist.’ 
TRYGAEUS 
-€Well, but look: you’re still proceeding.’ 
SECOND LEADER 
‘Just, by Zeus, one other twist. 
Let me fling my right leg upwards, and I’ll really then refrain.’ 


124 Fohn Williams White 


TRYGAEUS 
‘This indulgence too I’ll grant you, so you don’t offend again.’ 
First LEADER 
‘Hah! but here’s my left leg also: it must have its turn, ’tis plain — 
I’m so happy, glad, delighted getting rid of arms at last, 
More than if, my youth renewing, I the slough of Age had cast.’! 


If the theory of the active participation of both leaders in the dia- 
logue is accepted, it affords welcome relief in an unexpected quarter, 
the prologue of the Ecclesiazusae. ‘The chorus gathers at the opening 
of this comedy before the house of Praxagora and departs thence, at 
that part of the play where ordinarily the parodos begins, to the meet- 
ing of the assembly. ‘The manuscripts and earliest editions recognize 
that three women, besides Praxagora, are present and speak in the 
prologue. These they designate as yuvy tis, érépa yuvy, and GAXy. 
In the edition of Portus (1607) these three appear as five, yuvy ts, 
érépa, yuvy, adAy yuvy, GAAn yuv7, GAAn yuvy.” Brunck (1783) made 
the number of women nine, besides Praxagora. Beer reduced these to 
two, giving verses 30-31, 41-42, 46-474, 86-87, 213¢, 245-249, 250b— 
2518, 2524, 254, 2564, 258-2594, 261, to the “Chorftihrerin.” Bergk 
(1852) gave 30-31 and 43-45 to the ‘chorus.’ 

The assignment of verses to the chorus by Beer and Bergk is signi- 
ficant. Of the women who speak, whether three or nine, only one 
besides Praxagora appears from the scene (at 35b-40). ‘The rest come 
into the orchestra through the ecodos, and are part of the body of 
women who subsequently form in two half-choruses (at 285 ff.). Two 
are needed besides Praxagora and her neighbor, the yvvy who appears 
at 35b, to carry forward the action of the prologue. It seems natural to 
assume that these two women, who were members of the chorus, were 
the two leaders, as in the Lysistrata. On this assumption the parts 
might be distributed as follows. 

Praxagora soon after the opening of the play sees a person approach 
at a distance with a lamp, and retires from view. ‘This person is the 
first leader, who exhorts her women as they come trooping into the 
orchestra (30-31). Praxagora comes forth and chides them (she uses 


1 T avail myself of the version of Mr. Rogers. 
* See his list of dramatis personae. 








An Unrecognized Actor in Greek Comedy 125 


the plural tuas) for being late, and then wakens her neighbor. Other 
women are seen to be approaching, and Praxagora distinguishes three 
of them while still at a distance. These other women are to constitute 
the second half-chorus,' and their leader, while still in the etcodos, is 
heard to urge them to make haste (43-45). Others are recognized and 
named by the first leader (46-478, 49-50) and by the neighbor. By 
this time the women who are to constitute the second half-chorus have 
reached the other group of. women, and their leader addresses Praxagora 
(54-56). Praxagora directs those assembled to sit down, and then 
asks whether they have made the preparations agreed upon. Both 
leaders answer in turn (60-64, 65-67). ‘And have you your beards 
ready?’ Both reply, one after the other (70, 71). But in their eager- 
ness they have answered simply for themselves; each woman has twice 
said €ywye, although Lysistrata asked about all the women. She there- 
fore repeats her inquiry. The rest of the chorus nod assent and her 
neighbor assures her that they are ready. Then the dialogue continues. 
I have indicated at the appropriate place in the table that begins on 
the following page what verses may have been taken by the first and 
second leaders.? 


' All the twenty-four women, then, who are to constitute the chorus gather in the 
orchestra at the beginning of the prologue. Presumably they all come from the town 
(cf. 53), but in furtherance of their deception they purpose to give themselves a rustic 
air. Praxagora especially advises this (cf. 276 ff.) when she marshals the two half- 
choruses at the end of the prologue. Her neighbor catches her spirit, and after 
suggesting that she and Praxagora shall precede the chorus whom Praxagora has now 
ranged in order (atrGv in 280), she adds that other women besides themselves will 
be hurrying from the country to the place of meeting. Both ode and antode that 
follow are rustic in tone. When the second half-chorus sing in 300 of ‘these fellows 
from the town,’ they speak in their assumed character of countrymen, and are slyly 
gibing the citymen in the audience. They are not referring to the members of the 
other half-chorus. The two half-choruses leave the orchestra one after the other. 

® The neighbor also takes part in the dialogue (35-40, 51-53, 72b, 78, 88-80, 
gob—92, 279b-2822). Lysistrata has the verses not otherwise assigned. 


126 Fohn Williams White 


ASSIGNMENT OF PARTS TO THE LEADERS OF THE HALF-CHORUSES 
IN TEN! PLays 


(The verses assigned to the second leader are in full faced type. Lyric solo 
parts are in parentheses.) 


ACHARNIANS 
204-2077 219-222 234-236 238-240 280-281° 282-283 (285% 
287-292 294-295 297-302) 303-304 307-308 311-312 315-316 
319-320 3234 3248 3252 328-330 333-334 (336 338-340 342 
344-346) 364-365° 3901-392 557-559° 560-561 562-563 564- 
565 566-571 575 576-577 626-627 628-658 659-664 676-6917 
703-718 (929-931° 935 940-942 946 948-951) (1008-1010° 
IO0I3. IOI5-I1017 1037-1039 1042 1044-1046) 1069-1070" 
1143-1149 1228) 1230 
KNIGHTS 
247-2501" 251-254 258-265 269-272 274 276-277 312-313" 
333-334" 337" 341 359-360 366 389-390 407-408 421-422 
427-428 436b-437 440-441 4512 453-456 457-460" 464 470 
482-487 490-491 4932 494-4952 495°-497 498-506 507-546 
547-550 565-5801 595-610 611-614)" 761-762 841-842 Q19- 
922 941-9421® 1253 1254-1256 1274-1289” 1300-1315 1319— 
13207 1322 1324 1329-1330 1333-1334 1381 





1 The Clouds is purposely omitted. In the foregoing discussion I have used 
for illustration only those parts of this play which it is agreed belonged to the revised 


edition. 
2 204-240: p. 120. 2 247-277: p. 121. 
3 280-283: p. 120 f. Hd joy 1IKGy 
* 284-346: p. 109, n. 3. "4 335-456: p. 114. 
oF JO INC 157-4972) De liLoe 
ONS 5 7 S77 Ds) LOT: 16 565-580 = 595-610: p. IIo f. 
7 676-691 = 703-718: p. I10f. TD peal 4 
8 929-951: p. 108. 18 For 943-972, see p. 119. 
® 1008-1046: p. 109. Tope Tali7p 
LO oy, Thee 20 1274-1287 = 1300-1315: p. 110 f. 


Ep el2Os *l p. 119. 








An Unrecognized Actor in Greek Comedy 127 


WASPS 


230-2341 235-239 240-245 246-247 249 251-253 258-265 
266-272 (293-2967 298 300-302 300-3I1I 313) (334-335° 
338-339 342-345) 346-347* 350-351 354-355 (365-366 369- 
370 373-378) 379-380° 383-384 387-388 (403-404° 416 
4AIl7-419 422-425 428-429) 437 441-447 453-455 (473-477 
480-483 486-487) (526-528" 532-537 540-545) 546-547° 
(631-633 636-641 644-647) 648-649 725-727° 728 863-867 
IOI5-I050 1051-1059 1071-1090" I1102-112I 1297-12981! 
1516-1517 

PEACE 

301-304? 305-308 311-312 316-317 320-321 324-325 3278 
328 330 331b-332 334-336 428-430 430-440 444-446 450- 
453 455 4574 457¢ 458 (460% 462 469 472) 479-480" (490 
496 499) 508% 510 (512 514-515 517-519) 556-559 601-602 
617-618 630-631 729-733 734-764 765-774 (856-858 860- 
862 864 909-OII 913-915 917)* (939-941 943-947 950-955 
1023-1025 1027-1030 1034-1038) 1140-1158” 1172-1190 I3II 
1316-1328 

BIRDS 

322-3238 323¢ 3252 3262 336-3388 352-353 364 365 369- 
370 373-374 381-382 385 400-405 (406” 408 410-411 414b- 
415 417-420 426 428 431-433) 442b-4432°° 4442 445-446a 
447 460-461% 464b 467b 470b 4704 476 5008 548-549 553 


73220—2/72ap. 20 fe 4 450-499: p. 100, n. I. 

* 291-316: p. 109, n. I. ESD, WA 

3 334-378: p. 109, n. 3. 16 508-519: p. II7. 

4 346-347: p- 110; 346-355: p. 115. +7 856-921: p. I09. 

> 379-388: p. II5. 18 For 922-1038, see p. I14, n. 3. 

§ 403-487: p. 108 f., p. E15. 19 939-1038: p. 109, n. 3. 

7 526-647: p. 109, Nn. 3. 20 [140-1158 = 1172-1190: p. IIo f. 
Bop. Lire: 25322-4322) pak 22- 

ee pe Lr4- 22 406-433: p.- 109. 

10 TO7I-1090 = 1102-1121: p. 110f. 7 442b-447: p. 117. 

it 1297-1298: p. 118. 74. 460-461 = 548-549: p. 109 f.; 460- 
2 301-336: p. 122 f. 6255 pe List. 


13 428-458: p. 117. 


128 Fohn Williams White 


571-5722 587b 592 595b 606-6072 608 626-627 636-637! 
65822 658c-660 685-722 723-736 753-768° 785-8004 1072— 
10875 4102-1117 1164-1165° 1196-1198 (1313-13147 1316 
1318-1322 1325-1326 1328 1330-1334) 1726-1730 
LYSISTRATA 

254-255° 266-270 281-285 306-318 319-320 350-351 352- 
353 354-355 356-357 358-359 360-361 362-303 364 365 366 
307 368-369 379 371 372 373 374 3752) 3755 370 Sameies 
378> 3792 379b 380a 380b 3814 381b 3824 382b 383 384 385 
386 399-402 467-470° 471-475 484-485" 530-540 549-550 
614-6151! 626-6351? 636-637 648-657 672-681 696-705 '706— 
707 > 710 7i2 714 716 959-900). 908-000) 070) o7 avout 
1015 1016-1017 1018 1019-1021 1022-1023 1024-1026 1027— 
1029 1030-1032 1033-1034 1035-10362 1036b 1036c 1037-1039 
1040-1042 1072-10751 1078-1079 1082-1085 1088-1089 1093- 
1094 1106-1107 ILO8-I1II 1221! 1228-1238 


‘THESMOPHORIAZUSAE 
381-3821° 531-532 571-573" 582-583 586 589 597-602 607 
613-614 655-658 659-662 (667-686) *° 687-6887! 699-703 705 
(707-708 715-716 718-725) 720-727 785-813 814-829 830- 
84572 947-952 116473 ITLVO-117I 1217 1218b-1219 1220b-1221 
1223-1224 1226 


1 636-637: p. 117. 12) 700-710) ps 1O4s) panties 
? 6582-660: p. 117. If O50-070; ps toque 

3 753-768 = 785-800: p. I10 f. 1S TOU 1042) sp. OR. 

4 For 801-902, see p. 114, n. 3 (ad fin.). 1° 1072-1111: p. 105. 

® 1072-1087 = 1102-1117: p. 110 f. LAA 22 1-228): os TOR 

§ 1164-1198: p. 115. Tepe Se 

(NGI =1234D. TOG Myke Te SONAL 56h, DENY) tie 

8 254-386: p. 103. 9 667-686 = 707-725: p. 100, n. I. 
9 467-550: p. 103 f. 7 1), MO 

12 Ds LO: Se LOt: 

11 614-705: p. 104. Sa De al @) tis 


626-635 = 648-657 and 672-681 = 696-705: p. 110 f. 


An Unrecognized Actor in Greek Comedy 129 


FRocs 
354-371 382-383 394-397 440-443 686-705* 718-737° 
ECCLESIAZUSAE 
30-31° 43-45 46-472 49-50 54-56 60-64 65-67 7o 71 76- 
77 86-87 1I02-104 IIO-III2 I15 120 124-125 126b-127 1314 
1324 132¢€ 133b 135b 136b-143 145-146 147b I51-155 157 
1602 163-165 167-168 189 1922 2042 2134 213b 241-242 
245-249 250b-2512 2522 254 2562 258-2592 261 262-265 
285-288 478-479 480-482 488-492 499-503 514-516 581-582 
1127 1134 1151-1162 
PLUTUS 
257-258 259-260 264 268-269 271-272 275-276 279-282 
286 288-289 328-331 487-488 631-632* 637 639-640 962- 
963° 


1 686-705 = 718-737: p. 11of. 

2 For 905-906 = 1004-1005, see p. II2. 
3 30-284: p. 124 f. 

* 631-640: p. 118. 

° For 959-1096, see p. I19. 


Seta 


wy 





CHAS. W- PEPPLER 


EMORY COLLEGE, 


Prin NOM. shih “HARVARD “STUDIES” IN 
Cea Sole NMe Sele OrOGY VOLS Vi 1907 


ke 
at Ry 
y a ; 


hate 
Neat z 
mS 





‘LOGAOEDIC’ METRE IN GREEK COMEDY 
By JOHN WILLIAMS WHITE 


HORIAMBUS (-vv-) or “catalectic dactylic dipody” (-vuv | -,) ? 
Pure choriambic cola Guue EVO ane | UUme wy) or 
“syncopated dactyls” (-vu|L |-vu|L and -vu|[L | —vu|t| vu] )? 
Choriambic dimeter (v-u— —vvu_) or “syncopated logaoedics” (vu: -u| 
L|-vujt.)? Antispastic dimeter (Glyconic: vv v_v_) or “loga- 
oedic tetrapody”’ with ‘dactyl’ in the second place (v'L |-vu|_u|_,) ? 
Polyschematist dimeter (U_.U ~vu_) or “logaoedic tetrapody”’ with 
Sdaetylc in the third place (©: |/—o/_uu|—,)? In a word, the 
metrical explanations of forms that abound in Greek poetry which are 
given by eminent Greek metricians, or a theory of the ‘rhythmical’ 
structure of these forms that has little, if any, support in ancient 
tradition? These questions are of importance sufficient to warrant a 
thorough reconsideration of the material to which they relate. 
Definitions of logaoedic metre are given by Hephaestion and Aristi- 
des Quintilianus. These, unhappily, are not complete. The reason of 
this, however, is apparent: the metre was relatively unimportant. Both 
authors add their statements about it to their general treatment of the 
larger subjects of dactylic and anapaestic metres. But the essential fact 
is made clear. Hephaestion briefly defines logaoedic metre to be the 
combination, within the same colon, of two or more dactyls with a 
trochaic syzygy, or, in ascending rhythm, of two or more anapaests with 
a catalectic iambic syzygy (bacchius). The most noted form, he adds, 
in the second category has four anapaests, the first of which may be a 
spondee or iambus. Logaoedic cola, thus defined, are comparatively 
rare in Greek comedy.’ 


1 Heph. 25, 12 ff. and 29, 12 ff. (Westphal), and Schol. Heph. 163, 13 ff. Cf. 
Arist. Quintilianus 33, 30 ff. and 34, 5 ff. (Jahn) = 52 and 53 (M.). 

* For examples of this metre, see Thesm. 1136-1159, p. 20 below. This lyric is 
altogether singular in the great number of logaoedic cola it contains. 


2 Fohn Williams White 


Modern writers on Greek metre, G. Hermann (sparingly), Bockh, 
Rossbach and Westphal, and many others, have extended the applica- 
tion of the term ‘logaoedic’ to include cola that contain a single 
‘dactyl’ (or single, but isolated, ‘dactyls’). This view of logaoedic 
metre, chiefly through the powerful exposition of Rossbach and West- 
phal, is now current. It has recently been strongly re-enforced by 
the acute reasoning of Goodell.’ But it is not the view of the Greek 
metricians, who, while they are not always in accord in the application 
of their theory, agree that the cola which are now under considera- 
tion are to be measured differently. According to Heliodorus and 
Hephaestion, the unit of measurement is here a ‘foot’ that in its 
normal form contains four syllables and six times (ypovor). 

The current ‘logaoedic’ measurement of the metres in question has 
twice received fairly complete exposition in its application to Greek 
comedy, in Rossbach and Westphal’s Specielle Griechische Metrik* and 
in J. H. H. Schmidt’s Antike Compositionslehre.2 But, so far as I am 
aware, the lyrics and stichic periods of comedy that have been classified 
as ‘logaoedic’ have never been fully presented in any modern treatise 
in the forms demanded by ancient metrical theory. I purpose, there- 
fore, in what follows to analyze them in accordance with the doctrine 
of Hephaestion, with such aid as may be got from the Heliodorean 
metrical scholia on Aristophanes. Fair opportunity will thus be afforded 
for comparison. 

I exclude from present consideration the lyrics in Aristophanes 
written, in whole or in part, in the metre made famous by Telesilla. 
There are six of these lyrics, besides isolated occurrences of the line, in 
Aristophanes, and the form occurs also in Cratinus and Hermippus ; 
but the Telesilleum, according to Hephaestion,* is a mixed Ionic colon, 
and the discussion of it belongs elsewhere. 


1 Chapters on Greek Metric, pp. 212 ff. 
? Third edit., pp. 653-669. 

3 See pp. CLXXXVI-CCCLXXV. 

< See) Hephiiss rons (Wi). 


‘Logaoedic’ Metre in Greek Comedy 3 


I Choriambic Cola 


The Choriambus, as such, disappears under the current modern 
analysis. It is no longer a fundamental foot (-vv_) used as consti- 
tuent element of a wétpov mpwrotvmov, but a catalectic dactylic dipody 
(-vv|-,). Hephaestion, however, for whom this zovs was as real an 
element in metre as the dactyl or iambus, devotes a chapter of his 
Manual to it. The chapter begins (30, 6 ff.) : 7d yoptayBixov cvvti- 
Gerar pev Kat KaGapov, cvvtiBerar 5& Kal éripixtov mpdos Tas tapPuKas° 
ws émimay O€, OTe KaTadynkTiKOY éoTiV, «is THY lapBiKHY KaTaKkA€ida 
TeparovTal, TOUT eat, eis auPiBpayvv, 7 Baxxeloy ba tTiv adiadopov. 
This simple statement adequately explains the metrical constitution of 
many lyrics in Aristophanes. 


Nubes 510-517 


GAN iG xatpwv THs avdpetas \ 

; Anapaestic. 

ovveKa TAUTYS. 

evTUXia YyEevoLTO TAV- Us ete 

Oparw, OTL TponKwv SUUsUS— 

és Badd ths AALKias EUS UE 
515 yewTepois THY PvoLW av- eS res 

TOU Tpaypacw yxpwricerat pee aa eee 

Kal codiav émackel. SE On ec 


In order to secure greater ease in analysis, the cola are here printed 
separately, each in its own line, after the manner of the Alexandrines. 
Catalexis marks the close of a period or hypermetron. The combina- 
tion of choriambic cola in Aristophanes is generally hypermetrical. 
Hiatus and syllaba anceps in acadalecttc cola are extremely rare; they 
will be noted whenever they thus occur. 

The commation that has just been quoted (Nubes 510-517) begins 
with an anapaestic movement. Compare the beginning of the comma- 
tion that introduces the parabasis in the Vespae (1009 ff.), where the 
lyric movement that follows is trochaic. 

The remaining cola are all dimeters, rhythmic odes of the normal 
measurement of eight syllables and twelve times, with catalexis in 2, 6, 
and the commonly allowed irrational element in the odd places of the 


4 Folhn Williams White 


iambic dimeter (5). The cola are pure choriambic (3), or mixed 
choriambic (1, 2, 4, 6), or iambic (5). The designation of 1 and 2 
respectively as ‘first Glyconic”’ and “first Pherecratean’’ and of the 
union of the two as ‘‘first Priapean”’ is modern and highly objectionable. 


Nubes 700-706 = 804-813 


S al > 
804 ap aicOaver mAciota os 4- 1 28g loge 
A > aay Ly AP oy Ge 
pas aya’ airiy’ wv EUS Os 
, A (arcs? 7gQ2 (7 — 
povas OeOv; ws eotw 60 €roimos amav- Ve Sey 
A a ‘\ 
808 ta Opav os av KeAevys. UU Ones 
\ 2 3 \ 2 / — 
ov 0 avdpos éxreTAnymevov 5 U-vguU_u_ 
810 Kal mavepOs émnppevov US Ui 
\ 3 / 7 A 4 
yvovs dmoAdwWes 6 TL TAcioTov dvvacaL, UU a Os Oe 
/ a / \ 
TaXews* iret yap ws TA TOL- ULL eau 
A 2 , 
av?” érépa tperec Oa. BT a, Oa 


On the constitution of this lyric, cf. Schol. Ven. 804: yopiapnBos 
dimetpos aKkaTaAyKTos* xopltauBos diwerpos KaTaAnKTiKds (Thiemann, 
duxatadAnktos V)* tapBos mevOnuimepys* amd yxopiapBov Bacews eis 
xoplapBov’ tapBos dimetpos KatadyKTiKds* tapos dipmerpos akaTaAnKTOS * 
amo xopiapBov Bacews eis tauBov’ yxopiapBikov TpiweTpov akataAnKTov* 
xopiawBos EPOnuipepys. The Scholiast divides the text of 3, 4: povas 
Gedy; ws|eroos 60° (?) éotiv dmay|ta Spav os av kKeAevys. He 
overlooks 8. 

The proper disposition of 3, 4 is notoriously difficult... Order, how- 
ever, may be restored by certain simple transpositions and a single slight 
change of text: éorw 68° €roysos in 807 for the reading of the Mss., 
éroynos 60 éotiv, and eis 8° dropov oray méoyns, Tayior in 703 f. for 
taxvs 6 oray eis aropov méoys. When the order became confused 
Taxior gave rise to taxds 6°. With ~-vuv (3) as the second syzygy 
of a lyric iambic trimeter, cf. Ran. 398 (“Iaxye aoAvtipyre, pedos 
éoptns), 399, 403 (v—vvv) and in a lyric tetrameter, Plut. 292. See 
also Eccl. 971 = 975. ‘The occurrence of Y_vuvu as the first syzygy of 
a lyric iambic trimeter or dimeter (5) is not rare.) Ci Achiymn5 a. 


' See Luthmer, De Choriambico et Ionico a minore ditambi loco positis (1884), 
p- 45 f. Von Wilamowitz in his /sydlos von Epidauros (1886), p. 136, classified this 
lyric as Tonic. 


‘Logaoedic’ Metre in Greek Comedy 5 


1170, Eccl. 972, Thesm. 353, 999, Vesp. 1466. On the occurrence of 
--vvuv in a choriambic colon, where the text is not to be impugned, see 
the next lyric. The correspondence of choriamb and iambic syzygy 
(3) is not uncommon. See the second lyric below (Vesp. 526 ff.). 
On the apparent initial anapaest in 8, see p. 8. 
Cola 7-9 are lacking in the ode. 


Nubes 949-958 = 1024-1033 


949 yoy del€eTov TH TLTVVH eee Ga Ue 
r - —= 
Tols mepioeElouce HUES WU) 
Aoyourt Kal PpovTion Kat Ce AS 
952 yVwWLOTUTOLS MEPLLVALS, SUMS Ue 
/ 3 , / = 
Neywv apetyvwv TOTEPOS 5 Oe ou 
, lal — 
gavyceta. viv yap amas Gey nU yes 
3 , f? 3 re , 
évOade Kivdvvos aveirar codias, BUYS UU UU 
z ® Ly - r Y 
957 nS meplt Tols Euois piAois Ga One 
\ \ , 
EOTLY Gywv MEyLoTOS. eh, 


Bergk proposed A€ywy aucivwv motepos (5) to replace the reading of 
the Mss. érdrepos aitoiv Aéywv auetvwv, in which the dual airoiv isa 
gloss on an original zorepos. In the antode of 5, 6, read with R and 
V eddayoves 8° Hoay dp ot| lavres tor émt t&v mporépwv. In 6 
favres tor émi is the sole example of an iambic syzygy of this form 
(--vvuv) in a choriambic dimeter in Aristophanes, but it has just been 
seen that both this form and v_—vuy occur as the first syzygy in iambic 
cola that are constituent parts of these choriambic lyrics. 


Vespae 526-545 — 631-647 


Xo. vov d€ tov éx Onperepov 1 ane 
, , 5 fr —(U) 
yupvaciov eye TL O€t aww, Uule 
, ¢ , U 
KalvOoV, OTwS pavyoe: — UU Oa 
529 BO. éveyxatw por dedpo THV : 
Y i i Ww 4 Iambic tetrameter. 
KLOTHV TIS WS TAXLOTA. 
530 ata QVEL TOLOS TLS WV : 
5 o e : ; Iambic tetrameter. 
QV TavTa TapaKedevy; 
582 Xo. py KATA TOV Vveaviay SUS Ge. 


/ / c a” \ 4 ~ — 
Tovde NEyelv. Spas yap ws UU Uwe 


6 Fohn Williams White 


, ” >) N\ A 

TOL meyas ETT aywv VU SGUsNigae 

\ \ wa e /, 
935 KQL TEPlL TWY ATAVTWV =J0— US 
y+ \ AN i? — 
ELTEP, O fy YEVOLTO, UU UL 

® / a 
ouTos €GeXer KpaTyoat yeu 


Bd. Kal pyv oo dv Aééy y adds 
pyynwocvva ypaoua “yo. 
589 Bi. ti yap pal’ tpeis, jv od¢ 


; Iambic tetrameter. 


\ Iambic tetrameter. 


lod / / 
540 pe THO AOYHW KpAaTHOY ; 
Xo. ovKeTe mperBuTa@v oxAos 10) BuO ee 
, y > sq? > A 

XPNTLOS COT ovd aKapY * —VV— —UUK 
oKwrTopevo. 6 év Tals ddois BUG) Saye 
OarrAopdpor KadrovpeO’, avr- ES VLU 
wporimv Kev. SUG Sie 


Bentley and Porson, demanding exact choriambic correspondence in 
choriambic cola (_vv— with ~vu_), proposed many changes of text in 
this lyric, the former rovdi (533) for rovde R V, yévou8 od | tos y 
ébehuv (536 f.) for yevorro viv ovros éOeXee R V, and the latter viv 
6) (526) for viv dé RV, det te A€yew (527) for A€yew te dei R V, 
o Gerda (537), ws 0 emt ravt éAndrAvdev (636) for ws dé wavr éze- 
AnAvveyvy RV. In the last case Porson doubted the equivalence of 
choriambic dimeter and Glyconic. I know no exact parallel to this in 
comedy (Hermann proposed one in Thesm. 990 = 995 —see p. 20 
below), but this correspondence is not so difficult as that in Eq. 332 = 
406, where the parody fixes the form and forbids emendation. In 534 
Bentley added vty, transferring it from 536. Porson corrected (542 f.) 
0 dv év taicw ddoicw (dd0is R) dmracats . . . KadoiueO’ R V to the 
reading given above. ‘The last syzygy of colon 13 of the antode is 
lacking in the Mss. 

Besides the four cases of correspondence of choriambus with iambic 
syzygy that are found in the lyric under consideration, the following 
also occur in cola that have not beenemended); {ou lysuezal—sarte. 
You lliys. 220 = 340, 240k Ach iis t/==1162-) (i Dhtisp =o UeMOcrlCs 
four times, Yul twice, and {uu once: 

I add, in order to afford means of comparison, the correspondences 
in lyric iambic syzygies, the text of which has not been emended, that 


occur among the lyrics discussed in this paper: U-v_ Nub. 951 = 1026, 


‘Logaoedic’ Metre in Greek Comedy 7 


iys-932)io——3 315. Cle. Cte... unuce Nub.705)== S09, geulY Nub) 954 
=——iO2O UE Cel. O00) —=19 72). uuuu-, ACh-1157 = 1169, Vesp- 
ioe lbys) 325 —= 3309 and) 423) — Z4A2uucu- ACh. mrs 6 
=O, uuu NCH. (TsO) ==" TOS.) Yoouuu Viesp. E454 = 1466, 
guugl4) (p)) Mys: 324 == 338, 4-4" (2) Eccl: ort (ovy Kev povtatpos) 
= 919 (bis). 

Lysistrata 321-334 = 335-349 


, — 
335 nKovoa yap TUpoyEepov- es 
Tas avopas éppev, orer<cxn ee eS 
, 7 
pepovtas worep Badavedcovras eS EY (Uae mee 
, e — — —= 
és moAw ws Tpitadavrov Bdpos, TU 
, 2 la A —= 
dewoTaT amelAovvTas ér@v 6 GuuUus) Sue 
¢€ \ \ \ \ 
340 ws mupl xpy Tas puoapas Us | ie 
yuvaikas avOpakevey * Oe 
A 5 > 
341 as wo Oca un ToT éyw Sn Se 
, io U 
TAT PAfLEVAS LOOLML, IE, | VL 
\ A — 
342 dAAG mroAemou Kal pavLov 1 Ces EO 
, e , ( 
pvoapevas EXXada Kal zoXiras, BOO, Un Gee 
a8 > , 
ep oioTep w xpvcoAcda GE aru 
i ~ 4 
345 modlovye oas EeTYov €dpas. UU Le 
A Ss 
Kal o€ KaA® Evupaxov wo Dns) Suis 
> 4 ~ 
Tpiroyever, el zis éxel- 16 OG Uwe 
, 
vas UroTiuTpynsw avyp, SVU PEUUE 
, 7 > e na 
pepe vdwp ps” ypaov. pnw ee (a 


The colon corresponding to 345 is lacking in the ode. 

Three forms are found in the first half of a choriambic dimeter in 
this lyric that have not previously occurred: (1) uuuv— (4, 5, 10). 
Gre Vesp. 145 32)—— 0405, (0455, £450 1408. and: the discussion of 
Aves 1372 ff. (p. 11 f.), a comic parody. The same form occurs as the 
first syzygy of an iambic dimeter in Ach. 1156, 1157. (2) -uvu_ (5, 
HO) Ch Wespa T4079 Also, Ini an iambre idimeter) imjyAchs, ero: 
(3) vu-v— (13). This anapaest is generally excluded by the commenta- 
tors, beginning with Bentley, who proposed cas wrodwdy’, not in itself 
a felicitous change of text. Another apparent instance of the anapaest 
in choriambic verse occurs in Eccles. 940 = 944, but this cannot be 
cited as evidence of the usage of Aristophanes, since in Eccles. 938 ff. 


3 “Fohn Williams White 


the poet is imitating the common form of the scolium, in which the 
metrical constitution of the last two verses is uncertain. ‘To pass to 
lambics, tayéws in Nub. 812 is no doubt a dissyllable, and in Thesm. 
355 the metre may be Ionic: uv_v_v—— (anaclasis). The anapaest 
does not occur, so far as I have observed, in any of the pure iambic 
lyrics of Aristophanes. On the other hand, it is found in two poly- 
schematist dimeters in both R and V, Vesp. 1461 = 1473. Seep. 23. 
In Vesp. 1458, Kiister’s change of Pvcews (R, V) to uceos is probably 
right. Here the antode (1470) shows uuv. The natural inference 
from these facts is that the anapaest is faulty in all these places, espe- 
cially when one recalls to mind the assault that Aristophanes, in Ran. 
1322 ff., makes upon its use by Euripides in Glyconics. See p. 29 ff. 

A form of iambic dimeter occurs in the antode of this lyric (4) 
that must be accounted defective (-uv-uu —-v_), but who shall say 
that Aristophanes did not compose it? Here also the commentators 
have essayed changes: ws tpitadavtaia Bapos Bentley, dedpo tpitadav- 
tov tu Bapos Reisig, etc., but the same fault is found in two iambic 
dimeters in the same play (Lys. 277 278). Reisig’s conclusion that 
the two cola just cited are Glyconics is invalidated (to say no more) by 
the strictness of Glyconic form everywhere maintained by Aristophanes. 

To avoid the correspondence You- in 7, Meineke proposed ras 
xvvas for yuvaixas (Mss.). 

On the form of the catalexis of the trimeter in 3 compare the tetra- 
meter in Ay. 1724 f. 


Ecclesiazusae 968-971 = 972-975 


A / , 
KOL TAVTA [LEVTOL [LETPLWS 1 20s UE 
\ / 
969 mpos THV EunV avayKny VES yan 
> SESS , \ dé U 
clpnuev éotiv. av O€ MOL, Vue Ue 
x , 
970 diATaTov, ® LKETEVY, eUU wee 
/ / 
dvoitov agmacov pe’ dua SU UU 
, + ; 
TOL GE TOVOUS EXW. BU UU 


Two choriambic tetrameters and an iambic dimeter and dochmius. 
The dochmius is here admirably adapted to express the emotion of the 
singer, and occurs in just this form, in connection with iambics, else- 
where in Aristophanes in passages of intense feeling, in comic imitation 





‘Logaoedic’ Metre in Greek Comedy 9 


or parody of tragedy. Cf. Ach. 1219, 1221; Nub. 1163, 1164; Vespae 
730.= 744 (Yuv—v_| vuv_v_) and 873 = 890. On the form of the 
fifth colon, see p. 4 f. In 970, © ixerevw is a case of synizesis, since 
the resolution of either long of the choriamb (here it would be —vuvu | 
v__) is unheard of in Aristophanes, except in parody (pp. 11 ff.). 


Acharnenses 1150-1161 = 1162-1173 


ed Gh 5 
1150 “Avtiwaxov tov Wakddos TY eam cepa 
/ : ~ 
tov Evyypapyn Tov perXewv ToinTHV, OG ee nn no 
€ XV e lal / na 
os pev atAw oyw, KaKWs SOUS Ue 
e€ordeceev 6 Zevs* SS s woe 
4 SEIN \ / , - 
os y €“e Tov TAnmova An- Dye a A 
Lanna, ca 35 , 3 yy — 
1155 vara xopny@v amédvoe adeurvov. ae 
AY — 
ov ét éidoiut TevOidos CEU U Uae ear 
4 e 6° 3 / = U 
deopevov, 7 OTT LEH Uuuu— Yiu 
7 / SN / /, = u U 
cilovoa mapados émt tparely KELyevy Ray ere es 
6xéAAoL* Kata ped- LOS ye oe 
1160 AovTos Aaeiy aiTov Kiwy See eye 
e , , 
apTacaca evyol. oe) 


Two choriambic pentameters enclosing a tetrameter, followed by two 
iambic hypermetra. The close of the first iambic hypermetron is 
marked by hiatus in the ode and by syllaba anceps in the antode. The 
contrast in form between the iambic hypermetra is admirably adapted 
to heighten the comic effect of the sentiment. The triseme syllable at 
the beginning of an iambic dipody (10, 12) is now clearly established 
by the authority of Aristoxenus.* 

Cf. Schol. E (cod. Estensis III D 8) on 1150 ff.: OitAq Kal 4 Tov 
bpotwv dvas éxovoa Tas mepiddovs SwdexaxwAouvs* Ov TO TpaTOY xXopLap- 
Buxdv Siperpov axataAnktov’ 7d B év peyv TH mpdTn TEpLddw éeoTiv 
iapixov, év O€ TH Sevtépa Tepiddw xXopiapBiKdv, ect. d€ ovyyeves TO 
Tov iapBixod* TO Tpitov, xopiapPiKov: EPOnumepes TO TETaApToY. 

Elmsley, objecting to the correspondence in 2, proposed rév peAcov 
Tov perewv for tov Evyypadyn tov (tav R) pedrewv of the Mss. The 
form of colon 2 in the ode recurs in Ran. 213. 


1 See Grenfell and Hunt, 7he Oxyrhynchus Papyri, Part I, IX (p. 15, Col. IT). 


10 Fohn Williams White 


Isolated choriambic periods and single cola are found elsewhere in 
the comedies, as the tetrameter Aves 1724 f. at the close of an iambo- 
trochaic series; the catalectic trimeter Ran. 213 ; the catalectic dimeter, 
at the close of a trochaic period in each case, Eccl. 902 = 908, 905 = 
gto; and the succession of catalectic dimeters, Pax 785-787 = 807— 
809, in transition to dactyls. 

Choriambic cola and periods occurred in other plays of Aristophanes, 
no longer extant, and in those of other poets of the Old Comedy. 
Hephaestion (30, 21 ff.) quotes the AioAogikwy (10 Kock) : 


OUK €TOSs, ® yuvaikes, HUE 
TAC KAKOLOLW HLas eT ye 
pr@ow éxactob avopes* EU UES ome 
deva yap epya dpocar BU UE ee 
AapPavoperO” ta aitov. BU) eee 


Cf. Eupolis, KoAaxes 163 (Kock) : 


os xapitwv pev oe BUUSy uae 

kadAaBidas de Batver, BU Une 
lA \ / 

onoapidas dé yele, es, Ui 

pyra o€ xpeumretat. SMU VE 


The last colon,' in appearance, is the catalectic form of the preceding 
cola. ‘The sentiment precludes the dochmius. See above, p. 8 f. 

Pure acatalectic dimeters occur among the fragments of Aristophanes 
in 11 and 533 (K.). A tetrameter, quoted by Hephaestion (31, 16), 
occurred in the “Aydudpews (30) : 


> \ 3 -/ la 
oioa ev ap KGalLOVv TL dpav —_VVU. —-—U— 


Kovxt AEAnO” euavTov. AUS ae 


This has been called “first Priapean” (p. 4). It occurs not infre- 
quently in Aristophanes in extant plays. Cf. Ach. 1152 f. = 1164 f., 
Nub. 512 f., 567 £ = 500 £, 957 f. = 1032 ©) )Im the wiMononecmet 
Eupolis (159) it is used by line in a fragment of sixteen verses. Cf. 
also Eupolis 38 and 361. 


1 This combination has been much discussed, and it is thought by some scholars to 
be the basis of the forms of scoliastic verse that are found in Eccl. 941 = 945 and 
Wesp. 1245-1247. See p. 17 below. 


‘Logaoedic’ Metre in Greek Comedy II 


Cratinus used the pentameter in the IIvAaia (172). Cf. Lys. 328 f. 
= 342 f., and in varying form Ach. 1150 f. = 1162 f., 1154 f. = 1166 f. 

In the Lysistrata (319, 320) Aristophanes employs two catalectic 
choriambic tetrameters to introduce the parodos of the women : 


Avyviv doxG por Kabopav OE = 
Kal KaTVOV YUVALKES BG 
WETED TYPOS KaOMEVOU" See Oe 
amevoréov eott Garror. eae Se 


He has the same verse elsewhere: Nub. 7oo f. = 804 f., 949 f. = 
ROZMete OS f= LO26-4.. luvs. a27 —— 245. Eccl. 970 974. The 
iambic syzygy which begins the period has the fixed constitution ~-v_ 
except twice, where it is u-u_. Anacreon had used the verse in a freer 
form (frag. 24) : 


3 , Ss \ ¥ 

dvaretouat 67 mpos Odvp- UuUUR-uUUR 

Tov TTEpvyEToL KOVHas Ue es 
\ \ ¥ > 3 \ 3 \ 

dua tov "Epwr'* od yap éuot UuuU——uUR 

mais €GeXea ovvnBav. SUC wu 


The metricians were here in doubt as to the constitution of the first 
foot. Did it result from the resolution of a choriambus or of a pure 
lambic dipody? Cf. Heph. 31, 6 ff.: “Avaxpéwy d& éreryndevoe THv 
tpatnv ovévyiav d¢ ddov dopatos €x TpiBpdyeos Kal iduBov ronoar, 
ws evar Kownv AVoW THs TE XopltauPiKHS Kal THS tawBuKHs. Cf. Schol. 
Replies ton, 14 fi. 

Aristophanes can have felt no objection to this form zm zzse/f, since 
he employs it in the iambic part of mixed chorianibic cola, not only in 
dimeters (Vesp. 1453 = 1465, 1455, 1456 = 1468, Lys. 324, 325), but 
also in a trimeter (Thesm. 992 f.), and in a pentameter (Lys. 328 f.) ; 
but in a weil-known passage, with rare humor, he has used Anacreon’s 
peculiar tetrameter ‘with variations’ to travesty the extravagances of 
the dithyrambic poet Cinesias. In Aves 1372 f. he introduces Cinesias 
singing the very words of the lyric poet: 

1372 f. dvaréropat 6) zpos “OAvprrov mTEepvyerou Kovhais * 

YVUUU LUV. LUV. UL 


Hereupon the comic poet immediately begins to ring all possible 
changes (they are all impossible according to his own practice) on the 


I2 Fohn Williams White 


form of the choriambus, by means of resolution and contraction. He 
has Cinesias first display his complicated art by a variation in the first 
foot of a verse that certainly was not Anacreontic : 


1373 f. mérouar 5 6d0v arAAoT er GAAaY peAewv — 


YURUYU KUVUUR- —VUVU— 


Cinesias is rudely interrupted by Peithetaerus, but continues, varying 
the first and second feet : 


1376 f. apoBw dpevi copati Te veav éeperwv — 


YYVURUYU —VUVUYU UU 


He is again interrupted, but now with a warm welcome, and goes on 
heartily, with iambic and antispastic variations : 


1380. dpvis yeverBar BovrAopar ALyVPOoyyos andwv. 


en en se een eee INN fee enh Nee 


He continues with renewed spirit, in spite of remonstrance, introducing 
the following interrupted ‘ heptameter’ by a catalectic Telesilleum and 
ending it with broken Ionics (anaclasis) : 


1393 f. «ldwrAa Terewav 
aidepodpopwv oiwvOy Tavaocdeipwy — 
mem VU moe 


=—[VJUU. wee eV 
(wom says Peithetaerus, but the poet forges ahead :) 


1205) 1. Tov GAadpo- 
e 4 CPt) yes a , 
pov dAdpevos ap avéewwv mvoaicr Bainv — 
vuUUYU 


YVYUVUUYUY YVUAYU —VU—— 


And finally makes a triumphant finish in two finely variegated tetra- 
meters whose choriambic tone is nevertheless skillfully preserved : 


> 
1398 f. crore pev votiav oretxwv pds 6d0v, Tore 6 ad Bopea 
copa meralwv adpevov aiPépos avAaka TEe“vwv. 
VUKUYU ——— VURKUU UU. 


—VUV— —VUUU —UUR VU 


‘Logaoedic’ Metre in Greek Comedy 13 


Since Aristophanes himself never resolves either long of the choriam- 
bus nor contracts its shorts, his audience would be quick to appreciate 
the inimitable skill with which he genially brought the resources of 
metric into the service of his art as comic poet. 


Il Antispastic Cola 


Since G. Hermann’s assault upon the antispast and his celebrated 
invention of a “basis,” scholars have fought shy of this much abused 
foot and it has disappeared from the modern books. Hermann, to be 
sure, could not completely abandon the choriamb, and in his hands 
Sappho’s xatOvaioxe, KuOépn, aBpos “Adwvus: ti xe Ocivev; (Heph. 
34, 13) became a “‘choriambicum cum basi.” The logaoedists go a 
long way farther and make it ->|-vu|L|-vu|L | —vu] 6? 

Hephaestion, however, who had no premonition of the advanced 
investigations of the nineteenth century, and apparently found nothing 
in antecedent practice to give him pause, recognizes antispastic metre 
and devotes a chapter toit. This begins (32, 15 ff.) : 7d dvticractt- 
KOV TV ev TPOT NV culvyiav EXEL T pETrOMev nV KOTO. TOV TpOTEPOV 7000. 
eis Ta Tecoapa Tov ducovrAAGBov cyymata* Tas d& év péecw, Kabapas 
avTicm@actiKas* THY O& TeAevTaiay bore éotiv axatadAnkTov, tauBiKyVv* 
éav 6& dvapioyntar Tais iawBiKais, ob povov Tiy mpuTnv ovlvyiav exe 
TpEeTo“evnv KaTa TOV TpOTEpov 70a, GAA Kal THY Tais lawBrKals Eézo- 
pevnv. éorte de Gre Kal AvEeTaL 6 TPOTEpos Tos eis TpiBpaxvy. It is 
important to note what the variable four-syllabled element is that under 
this definition begins the dvricmactixov petpov. It may be v—-v or 
-v-uy OF ~--vu OF vu_v or vvu_v. These are all antispastic ‘syzygies ;’ 


1 Tt has been treated with downright contumely. T. Reinach speaks of it as 
‘‘V’horrible antispaste,’’ and in general it is viewed askance by the new school, but 
possibly it may be rehabilitated. It is at least true that Westphal’s statement that 
the antispast was invented by Heliodorus can no longer be maintained. See Grenfell 
and Hunt, 7he Oxyrhynchus Papyrt, Part Il, CCXX (p. 45, Col. VIII, and p. 47, 
Coley XA); 

2 Rossbach and Westphal’s analysis (Ssectelle Griechische Metrik, p. 568 f.) is 
bewildering. The fundamental part is a choriambic monometer and ‘first Phere- 
cratean ’ (BESS To this is then prefixed a catalectic Pherecratean 
(Yo_vuv_), and it is itself then modified by shortening the ‘first Pherecratean’ to 
the so-called Adonius (4vv-Y). The result (!) is VOLUN wee yet this 
is the verse that Alcaeus, Sappho, and Anacreon so greatly affected. 


14 Fohn Williams White 


in distinction from the rest, the first is designated as xafapa. We 
shall discover that Aristophanes denied himself the use of one of those 
forms (vu_v), but that Euripides added even a sixth (uu__v). By 
Hephaestion’s definition, the second syzygy of an acatalectic antispastic 
dimeter is iambic. 


Equites 973-976 = 977-980 = 981-984 = 985-988 = 
989-992 = 993-996 


WEE) / Quy 
973 nolaTov paos HMEpas BEL) Uy 
a A \ 
€oTal TOLTL TapovaL Kat SU uae 
Rr lanl > 3 4 — 
Toi. dedvp APikvoupEvots, SOS u uses 
\ , , — 
nv KXewv aodnrta. =O) Uae 


Cf. the analysis of this lyric in the scholium in V: xopwvis, é&(ace 
yap of troxpitai, Kat év ciaBéoe. Tov xopov Eas povoaTpodiKy TeTpa- 
Kkwdos ovaa (TeTpaxwrovs éyovoa Thiemann) ras zepiddovs éx Tprov 
TAvkwveiwy Kal tov Pepexpareiov, ouvyamtar d€ TH AEEer Kal povov 
duaxeKpitar TO Depexpareov, mapdypado. d€ awdai (Diibner, drdoi V) 
pev €, » 0€ ¢ Kal pera Kopwvidos. Hephaestion also designates this 
acatalectic dimeter as TAvxwveov (33, 9) and the catalectic form as 
Bepexpareiov (33,5). Cf. the definition of the pure Glyconic given by 
the scholiast on Hephaestion (213, 17 ff.). The antispastic dimeter 
(Glyconic), precisely as the choriambic dimeter and the iambic dimeter, 
normally consists of eight syllables and twelve times. 

Bentley proposed the reading of 975 for the unmetrical roiow 
dadixvovpevoow Of the Mss., and in 981 Scaliger “yéve’ for yevo.d’. 
Musaeus supplied the av that was lacking in 989. 


Ranae 1251-1260 


Tl TOTE TPGypa yevyoeTa; YOUU AU) 
ppovricew yap eywy exw, Seah O Ewes 
1) >) + /, > / 
TiV aoa meu €ETroLo EL UV a 
avopt TO TOAD wAeioTa OY SU Way 
1255 kal KaAdoTa peAn TroLy- a UAE 
la / , 
TAVTL TOV [LEXPL VUVL. AAU | 
f \ ay Ne, 
Gavpalo yap éywy omy Gn ee 
pepiberat Tote TOUTOV Bo eo Mee 
Tov Bakyeioy avaxta, Me ey ee 


\ / > nw 
Kal d<dorx UTED AUTO. OME es 


‘Logaoedic’ Metre in Greek Comedy 15 


The lyric is parodic in tone. Aristophanes rarely uses the form 
of the first syzygy that appears in 1, 3. Cf. Thesm. 991. The song 
begins with two hypermetra of equal length, and ends with Pherecra- 
teans. The tetrameter in 7, 8 is a Priapean. See below. Bentley 
wished to read rovrovi in 1258. In 1256 pexpe vuvi is due to Meineke 
for éru vov (or voy ér’) dvtwy of the Mss. 

The acatalectic antispastic dimeter (Glyconic) occurred also in the 
Tyjpas (140 K.), and the hephthemimeral form (Pherecratean) in 
continuous series in the Kopiavyw of Pherecrates (79), quoted by 
Hephaestion (33, 5) : 


¥ , \ A 

avopes, MpOoXeTE TOV VoOUY - eet Ui 

ESEVPNMATL KALVO, fee O) ve 
4 

CULTTUKTOLS avaTaloTOLS. Page ty ye 


Cf. Eupolis 162, Crates 33. 

The catalectic antispastic tetrameter, with the second syzygy iambic 
and with iambic close (a combination of Glyconic and Pherecratean) 
Wwasmamed: Pmapeam Caleph. 24°15 1.)- Ch. Cratinus 221 ; 


ovd Aigwvid’ épvbpoxpwv So UE 

> 4 yy 7 

eoOlew ete TpLyAnv Vie Vise 
3QN 4 3 \ 

ovde Tpvyovos, OvdE deL- HULU VUSIL 
lanl \ 7, 

vou dunv peNavoupov — SU 


CH Craumusszo,and Rane1257 f. Nub.572 t — 605 f, dihesm. 114r f, 
Choriambic and antispastic cola may be combined in successive 
series, as follows: 


Equites 551-564 = 581-594 


/ e 
551 trae avas Woceadov, o Ly UMS, (WLUE 
/ A 4 U 
XAAKOKPOTOY LTTOV KTUTOS SURGE ee 
J 
Kal XpEeueTiTpos avddver —UU— U-U_- 
/ \ 
Kat KvavéuBodor Goat SOU Y= 
pole / 7 a 
555 puuoGodopor TpLnpets, D Huy vee 
’ > 
petipakiov O° aurddAa Aap- SUMS WU 
TPVVOMEVOV EV APMacW Sve Uwe 
\ / 
Kal PapvdatpovovvT wv, SUM Wie 


an 3? + > >. \ > v4 3 3 
devp EAD és xopov a XpvooTpiaw « Se US AU ae Une 


16 Fohn Williams White 


, uA —_ 

560 deXdivwy pedewv Sovviapare, ye Sawer Ys GA 

5 ’ a , = 

w Vepatorie zat Kpovov, AO), UL 

Doppiwvi te diAtar éx EUlu dusue= 

~~ ww 3 

Tov dArAwy Te Oedv “AOy- Sey Va 

valols pos TO TapETTOS. Ly UT 


Cf. the scholium in V: durAn, elra émdyerar émippnuatixn ov vyia, 
ns at ey pedrckat (Thiemann, péedAn kat V) zepiodoi eiot 10° KwodAwv: 
TO TpOTov yxoplapBikov tapPuKyv Exov emieurypwevyv AakaTaAnKTOV, Kal 
TO B Gpovov axatadAnKTov, Kal TO y Kal TO 0 Gpovov, Kal TO € xopt- 
apPuxov Katadnktikoy (Thiemann, dkataddAnktov V), Kal To ¢ Kal TO 
C’ dxaradnktov (opovov V), Kal TO 4 KatadnkTiKov, TO O€ O Kal U 
GVTLOTACTLKA TpipmeTpa KaTadykTiKa (Thiemann, kal 76 4 dKatadyKTov 
kat TO 0°, TO O€ UL avarraLoTiKOV TpiweTpov KaTadynKTLKOV V), Ta O€ 
Nora 8 avTioractiKa Oiwetpa (Thiemann, dvaraotixa tpiwetpa V), 
tpia pev TAvkwveia, TO TeAevtaioy dé Pepexparevov. ‘The corrections 
are obvious. Cf. the Aldine scholium: durAy, eira érdyerar érippypua- 
TiuKn ovevyia ns pedtkal (pwéAn Kat Ald.) qepiodoi cic 16’ KdAwY: ov 
Ta pev OKTH yopiawBiKa iapBiKnv exovTa emyenrypevnv akaTaAnKTOV Kat 
KATOANKTLKYVY ws ev TO € Kal yn. Tov O ESS aYTIOTAOTLKOVY TH peV 
0’ kai ¢ tTpivetpa KataAnktiKa, TA 5€ Nowra Siperpa axatadrnkta TAvKw- 
veia OiTpoxatov Kat duapBov (iduBov Ald.) wAjv tod Terevtaiov EPOy- 
puprepovs, 0 KaAdcirar Pepexparevov. By this classification, cola g, 10, 
are catalectic antispastic trimeters, as in Eccl. 917 = 923 (p. 19). 
Hephaestion designates the middle syzygy of such metres as kafapa 
avticTactixy (32, 17 f.). The acatalectic form is the well-known 
Asclepiadean (Heph. 34, 1 ff.). Weil classified cola 9, ro as Ionics. 
See Bulletin de correspondance Flellénigue, XIX (1895), p. 411.1 See 
also von Wilamowitz, Sztzungsberichte der Kon. Preuss. Akad. der 
Wissenschaften, 1902, p. 894. But if we take the variable forms of the 
first foot in antispastic metre into account, what shall be said in expla- 
nation of Ionic metres in which the first foot becomes v_~ or —v-_, not 
to mention the possible uuu or even uv? ‘The same analysis applied 
to colon 14 (the well-known Pherecratean) would give an acatalectic 
Ionic dimeter (_-— vu-Y) closing a period. 


' Compare his Etudes de littérature et de rhythmique grecques (1902), p. 205 f. 


‘Logaoedic’ Metre in Greek Comedy 17 


A catalectic antispastic trimeter, with the second syzygy iambic, was 
called by the metricians ®adatkeov. Cf. Hephaestion 33, 17 fi., who 
quotes Cratinus (321): 


a? ? - , / 
xaip © xpvooKepws BaBaxra KyArwv, EG) OG. ae 


Ilav, WeAacyixov “Apyos éuBarevor. UU) UUs Ue 


This trimeter occurs also in the following (1, 2) : 


Ecclesiazusae 938-941 = 942-945 


3 A ~ / 
ab’ e&jv mapa TH vera Kabevdev UU Ue Ue 
\ \ 39 , ~ 
Kal pa det mpotepoy diacrodnoat a OS be 
Is, A 7 
9409 advaciov 7 mpeoSuTEepay’ GUO Ue 
3 \ 3 \ ~ 3 5) , 
ov yap avacxeTov TovTO y éXevbépa. SUUE RUS Ur wa 


The correction of rpecBvrepov, the reading of the Mss. in g4o, is 
due to Bothe. For the apparent anapaest at the beginning of 3, see 
p. 7 f. above, but the metrical constitution of cola 3, 4, is uncertain. 
No part of this lyric may be taken as exemplifying the usage of Aristo- 
phanes, since he here adopts a traditional form of the scolium, which 
was an inheritance from an early time. Cf. the laughable use our poet 
makes of the Phalaecean in Vesp. 1226, 1227, 1248, and with colon 4 
above, cf. Vesp. 1245-1247. These are the only instances of the 
combination of choriamb and antispast (in this order) in Aristophanes. 
— For a discussion of this form of the scolium, see von Wilamowitz, 
Aristoteles und Athen, II, 316 ff. 

Aristophanes has used the Phalaecean, in conjunction with a preceding 
antispastic tetrameter, the greater Asclepiadean or Samduxdv éxxatdexa- 
avAAaBov (Heph. 35, 5 ff.), in parodying Alcaeus (frag. 84), in Aves 
EATO H.: 

dpviles Tives 01d ovdéy ExovTEs TTEpoTOikiAOL, 
Tavucintepe Toukiia yxeArdot ; 
ee ee cree, ON IO ey A etc 


VVUeRU VReVUe Ue 


Cf. v. 1415. Aristophanes uses the form uv in the first part of the 
antispastic syzygy both here (in 1412, 1415) and in Ran. 1324 in 
parody. With colon 1 cf. Vesp. 1238 (scoliastic). —In Melanges 


18 Fohn Williams White 


flenri Weil (1898, p. 449 ff.) von Wilamowitz argues for Ionic scan- 
sion also of the Phalaeceum. See also Schroder’s analysis of the two 
Asclepiadeans in Phzlologus LXIV (1905), pp. 493 ff. 

The free combination of choriambic and antispastic cola, without 
fixed discrimination of order, is illustrated by fragments of two of the 
lost plays of Aristophanes. Cf. 109: 


Kipnvn BabvrXovre Kat LO eee 
, 
Cevyapiov Boekov, Be) a) Ua 
4 
ei yap €uol Tavoapevw YS LUE 
TOU moXEm“ov YyEvoiTo LoCo ae 
f > , ‘ 
oKaiat KaTokAacat TE Kat 5 ee SU aoe 
Aovoapevy dueAkvVoat Buu wu 
TS Tpvyos apTov Acapov 2UUS AUOE 
\ e 7 / 
Kal papavov payovTe. SOU Uy 
Add 141: 
v, 4 a 
wo mpeoButa, mwoTepa ides 1 2 ou woes 
Tas Opumereis éTaipas UU es 
DN A \ e , 
ov Tas vmroTapOHevous, SUeu! wom 
e 
dApadas ws €Adas, BRU uh 
, 
oTLppas ; kok OK Ok Ok Ok 5 me KK ROKK 


Hor Uuowe im a See ). asi 
Cf. also 695, where the cola are all catalectic : 


y > € 4 

doTIs év OvOTMOLS ara nS 
, , 

oTpOpac. TavvyxiCwv SUE mes 

\ , b) 4 

THv deoroway épeides. pase pe 


Cf. also Pherecrates 131: 


3 4 XN > a 

a parayas peyv e&epov, 1 Aue ues 

> , > Cit, 

dvarvewy 8 vaKOov, ywuU—UU_ 

Kal peAtAwtivoy AA@Y BUMS WM 

Kal pooa mposoeanpws * UU (Ue 

Ly Aw 

© PiAOv pev auapaKov, A 9 Vou 

~ XN / 

mpookwav dé cédwWa, Seu oe 
a \ 

yeAov 8° tmmocédva Kat Ves oO UU 


Kogpocavoada Baivwy SU), US 





‘Logaoedic’ Metre in Greek Comedy 19 


¥ > < 4 
€yxer KamiBoa TpLTov SON 


TALOV » WS VO"OsS eoTiV. 10s Sees Uae 
Five tetrameters. The last three are Priapeans (p. 15). 
Iambic and antispastic cola may be combined in successive series, as 
in the following : 
Ecclesiazusae 911-917 = 918-923 


911 aiat ti mote Teicopa; E Sauvusous 
ovxX nKEL povTaipos ° VES es 

912 povn 6° avtov Acro? 7 UE) Se GS 
yap por pytnp adAn BeBnyxe° eta BE UY 
Kal TaAAG pp ovdev TA peTa TavTa dei A€yew. Trimeter. 

915 GAN @ pai txerevouat, 5 Ee Wes 
kare OpOaydpav, ows Oley Gaus 
GeauvTns KaToOvat, avTiBoA® ce. Tee Wey) OE, 


A song a6 zopvetov! This may account for the hiatus in 911 and 
some other irregularities in form and correspondence. It is not even 
certain that the two parts correspond as ode and antode; cola 3, 4 are 
lacking in what seems to be the antode. 

I have adopted Dobree’s reading of the trimeter (verse 914), for 
which R has xai raAd’ ovdév pera tadta Sei Ak€yev. In gz read 
thapracas with Scaliger for t¢apracao in R. In g16 I have omitted 
tov which is read in R before “Op@aycpav, and in the next verse have 
read ceavtns for cavtns (R). On the form of colon that ends the 
lyric (7), cf. Eq. 559, 560 = 589, 590, and see p. 15 above. For 
v._u (6, 7) as the first syzygy in an antispastic colon, cf. Thesm. 996, 
the refrain “Ypjv & Ypevaiw (Av. 1736 = 1742, 1743, 1754), and 
Iphetectates| 109, 4.(p> 25) 5 131, 7) (p- 1d) 

Choriambic, antispastic, and iambic cola are combined in the 
following : 

Thesmophoriazusae 990-994 = 995-1000 


995 aut d€ col KTuTeitaL our we 
Kidaipwvios 7Xxo, vou Un. 
> »” 
pedappvrrdga T Opn UsLY » US 
/ = 
OdoKkia meTpoders Te varrac BpEemovTar’ Guuus. Suue vos 
, \ \ \ \ : 
KUKAw O€ Tepl GE KLTTOS 5 viuuuy vunavu 


evrerados €Auke OadAcu. _UUUUUURLe 


20 Fohn Williams White 


In 990, the reading of the Mss., evrov & Arovuce, is doubly in fault. 
Neither here nor at the end of the ode can enuoy be right, and Avdvuce 
(vu-v) fails to correspond with xrvumeiror. It is to be noted that all 
the cola in the lyric are catalectic. Enger reads Evue, & Ads ov, but 
the hiatus is objectionable. -Hermann’s evoi, o Aivyce (-v-v v-v) 
involves the least change. For the correspondence in this case, cf. 
Vesp: 537/= 6360 (p. 6). Uhe third, (colon \is\a (eatalecricmianerc- 
cratean. This is singular, but it is paralleled by the catalectic prosodiac 
(Telesilleum), which is common, and is more likely than an assumed 
acephalous choriambic dimeter (v-|-vu_). The ode determines the 
form of 4. In the antode the Mss. read in 998 f. kat vamau metpwoes. 
The correction is due to Enger. In 994 Hermann proposed @ evr, 
evot edoi,|a@ evr, dvaxopedwy for the faulty eviov eviov evot|. . . 
avaxopevwv Of the Mss. 

With the preceding lyric, cf. the following. 


Aves 676-684 


® dirAn, © E0v0n, @ OU ree 
VA 3 , 

giATatov opvewy Ui MR 

TavTwVv, EvVVOME TOV ELOV Soe OnUeUs 

vpvov, Evvtpop anoot, oer Ae 
680 ADEs GAGES BHOns, Und (Uj 

€ ‘\ / ° \ / >, 

yovv PGoyyov épot pépove UL) 

GAN @ KadrdALBoay KpéKove Bey WEIS 

avrAov P0éypuacw Apwvots, UE UI 

apxov TOV dvaTaicTwr. se Uae 


Onis see ps HO; 
Logaoedic, antispastic, and iambic cola may be combined : 


Thesmophoriazusae 1136-1159 


IlavAdda tTHv piAcyopov émot 1 Suvluu uuUE 

dedpo Kaddv vouos és yxopov, MA au) 

mapBevoy aluya Kovpyy, KURU RURU) ok ce 

1140 4 moAW Hperepav exe BU U OME 
\ / \ / 

Kal KpaTos davepov povy Sy 


KAndovXOS TE KaAEiTaL. CS uy ae 


‘Logaoedic’ Metre in Greek Comedy 21 


, }° — , 
gavnd o Tupavvous neat Ua 
Loy tx) 4 
oTvyOUT womTep eiKos. oe ag 
wn he , = 
bnu.0s Tol ce KaXei yvvat- BoA Cg a ee 
= + [A / 
Kkwv* €xovoa dé pou woAoLs 10 Horus 
Sd 7 / 
1147 einnvnv piA€opTor. SS pe 
9 Cae ° 
nKet evdpoves tdaoi, UO 
/ + 
1149 qroTyiaL, GAcos és wETEpoY, -UU-uUU ~UUU 
e ae 3 5) / 3 6é 2 > A 
ov 07 avdpacw ov Geuit eicopay VLU) Up Re 
y+ \ - 9 , = 
6pyita ceuva Oeoiv, va Aauracw 15 Suu uue Ul 
le , + 
1154 gaivetov auBporov ow. SUULUUR 5= 
, ” / > 4 
poreTov EOerov, avTopeO & UuU-uU —UUK 
= s 
1156 @ecpodopw rodrvrotvia, Syusuu, ak 
) \ / , 3 3 / yy A 
ei Kal mpoTepov ToT émnKkow 7nAOeTOV, VoV SOUS  UUE UU ee 
> 3 - 
adixesO ixerevouey évOad° jyiv. 2UGSUG = Ul ue 


This ode is altogether singular among the lyrics of Aristophanes in 
respect to the number of logaoedic cola that occur in it. On logaoedics 
in the ancient sense, see p. 1. Here these are mainly catalectic tetra- 
podies (1-4, 13, 16-18) of the same value in time as the interspersed 
Pherecrateans and iambics. On the trochaic opening of cola 14, 17, 
see Arist. Quint., p. 32, 37 f. and 33, 30 ff. (Jahn). The logaoedic 
movement at the close of the lyric (19, 20) is ascending (anapaestic). 

In 1150 Bothe corrected Geuitov (R) ; in 1158 Reisig adixecGov (R). 

G. Hermann (4f7dome, p. 171, ci. Elementa Doct. Met., p. 541) by 
numerous changes of the text attempted to establish correspondence of 
ode and antode between parts of this lyric. See also Reisig, Conzec- 
taneorum libri duo, pp. xxi ff. and 302 ff. 

Iambic, choriambic, antispastic, and logaoedic cola may be combined 
in the same lyric, as in the following: 


Thesmophoriazusae 352-371 


4 / ‘ 
EvvevyoperOa Téa per i) (uu vegu= 
move TéAca be OHpw : U-uvuu Un 
TANS »¥ > 3 A 
Ta0 evypat éexyeverOa, est ue 
\ 2 »¥ 2 9 , 
ta 8 apicO Goats mpoonKe OueuS UE = 
A > ~ 
356 vikav Aeyovaais’ Srdca 6 See je 


A 7 / A 
éfatatoow TapaPaivoval Te TOUS UU) 2UUS suUS 


22 Fohn Williams White 


4 
GpKOVS TOUS VEVOMLTMEVOUS sr Ta Ua 
A 3 
360 Kepdov ovvex emt BrAaBy, Be gous 
a y \ s } 
9 Wynpiopata Kat vomLov Be Gee 
~ 3 3 4 
Cntovo avTipeOucravat, 10 aa) Ya 
Tamoppynta TE ToloWw €Ex- Ua ae 
al rf , 3 
Opois Tois muerepors A€yove , EE 
N , 2 , a 
7” Mydovs érayouot yy ou aon 
lol eh 9 
366 Kepdw@y ovvex emt BAGBy, 14) Geom 
A A 4 2 
doeBovo adikovoi te THY moAW. GAXr UUEUUS UOLUUe ee 
1 
[® mayKpares 
A A 4 a J 
369 Zev TavTa Kvpwoetas, oad PR ea IBN: 
nelv Oecovs mapactareiv Lousy eo 
» 
Kalrep yvvaigiy ovcais. Mie (yn 


The ode begins with four and closes with three iambic cola. (On 
colon 4 see p. 8.) ‘The transition is through choriambic cola (5, 6) 
to Glyconic, which are followed by a logaoedic hexapody. 

Bothe corrected évvevyduePa (R) in 1, Dindorf evypata yeverOar 
(R) in 3, Hermann éfarar@ou. (R) in 6 and doeBovow adicotow (R) 
in 15, and Bentley évex’ (R) in 8 (cf. 14). In 12 Xeyovo’ is due to 
Suidas (Aéyovow R), and in 14 xepd@v to Reiske (ywpas R). 

Hiatus in 8,14. This is extremely rare at the close of the acatalectic 
dimeter. 

Isolated antispastic dimeters occur in the extant comedies of Aristo- 
phanes, as Vesp. 319-322 (rTypovpmar xré.) in transition from prosodiacs to 
anapaests, and the refrain “Yunv 6 “Yuéevar o, Aves 1736 = 1742, 1743, 
following prosodiacs, and Aves 1754, at the close of a dactylic series. 


Ill Polyschematst Cola 


In all the cola thus far considered in this investigation the only other 
form that has occurred in combination with choriamb or antispast to 
constitute a colon has been the iambic syzygy. The choriambic colon, 
if not pure, is éripuxtov mpos Tas tauBiucas (Heph. 30, 7); the anti- 
spastic colon always combines at least one iambic syzygy, acatalectic or 
catalectic, with the antispast or antispasts (Heph. 32, 15 ff.). 

But there occurs also the combination of antispast with choriambus, 
in the order named (UY_U _vuv_), the antispast now admitting an addi- 


‘Logaoedic’ Metre in Greek Comedy 23 


tional variation of form. Hephaestion fully recognizes and adequately 
describes this form of the dimeter in his account of the polyschematist 
Priapean (57, 14 ff.): 7d Lpidreov, od povov iauBixy tH Sevtépa 
xpwepmevov, GAAQ Kal yxopiauBiky* Kal Tov avTicmactov éoO ote, TOV 
TpOTov TOV TavTOs peTPOV, eis Grrovdclov TEepalovaw, éay TE ad iapBov 
apxytar, édv Te ard Tpoxaiov, KaTa TO dedopevory, eav TE amd oTovdEioU. 
Hephaestion here unequivocally designates the first syzygy as antispastic, 
: notwithstanding its additional variation of form. It is, in truth, multi- 
form. The opening movement may be not only v_ and -v and -~-, 
but also uuu; the following movement is -v or ~~. Hephaestion 
classifies these antispastic-choriambic dimeters, examples of which he 
found in Corinna, as ‘polyschematist Glyconics’ (58, 3 ff.). The 
forms that particularly struck his attention were vuu_v ~vu— and ~~~ 
-vv_. Both frequently occur in comedy, especially the latter. 

This form of the diuerpov puxroy occurs in 1457-1461 = 1469- 
1473 of the following lyric: 


Vespae 1450-1461 = 1462-1473 


a A A , 

1450 €nrA@ ye THS EvTVXLas feu ue 
XA / e /, 
Tov mpeoBuv ol petecTy nS eee 

a , \ one vu 
Enpav TpoTwy Kal B.oT7s Sa eye 
oa XV A 3 \ 
érepa O€ vov avTipaboy UUUUR aUUR 
> rn pa 
T] péeya Te petarreceitar § Yuuuuvue 
35 \ X\ ~ A , — — 
éTl TO TPVPHY Kal padaKoV Uuvu, .vuuUR 
, +) A y 3 3 4 

T2Xa & ay tows ovk éGéXor. vuUUR ~UURE 

1457 TO yap amrooTHvat xaXerrov gEU.= Huu 

A , 
puiceos, nv Exou Tis Get. UuULU —UUR 
‘\ < 3 
Kaito. woAAot Tatt émaGor: BO) piss ies ae 
/ 7, e , _ 
EvvovTes yvwpais éTEpwv ee ees = 
\ , —_ 

peteBadAAovTo TOvs TPOTOUS. UG ue 


The first seven cola are mixed choriambic (1, 3, 4, 6, 7) or iambic 
dimeters (2, 5). The last five are ‘polyschematist’ dimeters. The 
normal form of catalexis in the latter, the last member of the dimeter 
being a choriamb, is seen in 12. Hephaestion is perfectly clear on this 
point. In speaking of catalexis in choriambic metre he recognizes not 
only an tauBixy xataxXe’s but also a choriambic ; the choriambic colon, 


2A Fohn Williams White 


he says, has a close of its own (xara tHv idiav). Cf. 30, 8 ff.: as 
érimay O€, OTe KaTaAnKkTiKov eat, eis THY layBuKnY KaTaKXElda reEpa- 
ovTat, Toit éotw, eis audiBpaxov, 4 Baxyelov Oia tiv ddiadopov. 
Teparovtat pev yap Kal eis THY idtav, Tov OaKTvAOV 7H KpNTLKOY. 

The reading perazeceitat in 5 is due to Bentley. Here V has pera- 
meigerat, and R péya meioerar. In 9g dvcews is read in both R and 
V; Kiister corrected this to @vceos. In 12 both R and V have 
peteBadAXovro in the ode and xatraxoopnoa in the antode. On this 
anapaest, see above p. 8. 

Pherecrates used this metre in the KpamataXoi (96) : 


Tois O€ KpLTais 1 euoe 
= \ , 4, 
TOS vuve Kpivovot AEyo, ee  SUU 
\ > e > aQ7 
Be) TuopKely yd adikws SOL UE 
/ x \ \ / 
KplLvelv, 1 Vy Tov tALov PRUE STS) 
Lal >) e ~ oe 
pdvOov €lS UMLAS ETEDOV D Qe vos 
Depexparns AeEer TOAV Tov- VOU LeU 
TOU KAKNYOplOTEpov. YY KUL 


As Bergk surmised, this was probably the close of the mviyos of a 
parabasis, to which it would be admirably adapted. Cf. Pherecrates 95. 
Pherecrates employed this dimeter also in the “Aypuoe (13) : 


evOpvaKoict Kal Bpakavors TS enw 
la / 2? 
Kal otpanros Cyv: drdrav 8 ey aU 
~ / 
non mevoor pPodpa, paleo LUI) 
€ \ \ /, 
WoTEpEl TOs ToVAVTOOAS Une 
, 
* * VUKTWP TEPLT pw- 5 k*#*— -UUR 
€ la \ , 
yew avT@y tous daxtvAovs. J ye 


Cf. Eupolis 362. 
This dimeter might be used in free combination with Glyconic cola, 
as in the ®oivooa: of Aristophanes (561) : 


oTiABn 0° 4 Kata vUKTA poL Seto iuee 
Ye) > A 9 EN A 
hrOy avacepalers ext TO UUUSesuUe 


Avyxveiw. x kK OK x won KKK 


‘Logaoedic’ Metre in Greek Comedy 25 


Cf. Philyllius 5: 


, \ > 
TaVTAa yap nV 1 -Uv— 
/ 2 3 an \ / 
Beot avdp@v Kal pepakiwy eo ey Ua 
dvTwv, Ou“ov 0 6puad 
; TLVOVTWV, OfLOU O"aow Sg 
702 , » 
ypace qv peydAaowy ot- EO av 
4 Lal - 
vou xalpovta AeracTats. Be aUE Ose 


It might be used also in combination with both Glyconic and chor- 
iambic cola, as in Pherecrates 109 : 


tm avadevopadwv amadas 1 wUuULU_UUe 
3 / ‘ A 

aomaAdGouvs maTrovvTes eye ae 

ey Aewovi AwTOPdpy, ee 
A / , 

KUTELPOV TE dpecwdn, Op 


or 
! 

! 

I 
Cc 
Cc 
} 
Cc 
! 


7) , A 2 » 
KavOpicKov padakOv T twy 


Neiuaka Kal TpLpvAdAov. ORES Oe 


Three tetrameters, of which the second is a ‘polyschematist’ Pria- 
pean (p. 23). Cf. also Aristophanes Tnpas (142). 

Aristophanes employs it in a similar manner, in transition from a 
choriambic colon to Glyconics (a Priapean), in the tenth colon of the 
following lyric, which begins with six choriambic cola followed by two 
dactylic cola in logaoedic time : 


Nubes 563-574 = 595-606 


563 wWuypedovTa pey Fav foe UU uu 
Zyva Tupavvoy €s xopov . eo ee Us 
TpOTa peyav KiKARTKW* UO Ue 
~ / 
Tov Te peyacbevn Tpiaivns Tapiav, UU ERE 
A \ e A 6 Xa = 
yns Te Kal adApupas Gadac- i NES 
568 ons aypiov poxAevTyV * UU eee 
Sa 
Kal PeyAAOVULOV METEPOV TATEp SOLU Uy, 
+} / 4 / 7, 
AiOépa ceuvoratov Bi0bpeupova tavTov. UU Un UU UU) eae 
/ ~Y 1G / a ¢ 
tov O° immovwpav, os vmeEp- SU Uwe 
/ 3 - / 
Adpmpols AKTLOW KaTEXEL 108 Gee SU 
at tp al 
yns médov peéyas év Oeois SuSuEusU 


r , 
514 év Ovytoial Te daipwv. she Het ya, 


26 Fohn Williams White 


There is an almost perfect analysis of this lyric in the Aldine scholia.* 
With this should be compared the Byzantine scholia preserved in cod. 
Vat. 1294 and cod. Par. 2821.7 

The combination of the acatalectic and catalectic forms of this 
dimeter gives the celebrated Eupolidean period (Heph. 59, 1 ff.), 
which Aristophanes has employed xara orfyov in the parabasis of the 
Nubes, 518-562. ‘The second foot is invariably a choriamb, the close 
is invariably choriambic (_vY): The forms of the first syzygy in these 
forty-five verses, arranged in the order of frequency of occurrence, are: 
~--_ (sixteen times), =--u (nine) times); =u==" (eight umes) eos 
(seven times), u--v (once), with four doubtful cases: —--¥ (bis), 
uuu_Z) and —Y=_. “Ihe forms) of the) third isyzyey are === Ewielie 
times), -veu (eleven times), 2o2") (ten times) (== 0) \(iivemuimnes))y 
v.—— (three times), vi 2u (nce), with three doubtiul casesa 2 =u. 


ay OSs 


This verse was much affected by the comic poets. Cf. Cratinus 98 : 


- 
TaVvToos ye pny Kepadnv Ee UU 
avOenous épertopar AS Uae 
Aeupti 500 j 
ELPLOLS, POOOLS, KpLVECLY, SUEY), UU 
, ” 7 
KOO Mocavoarols, Lous YG Av 
\ / 3 
Kal Lov Gplois, avEww- Sy SUSU euwes 
n~ 4 - 3 3 a 
vov Kadrvél T Hpwais, Une 
e , - e , 
EpTVAAW, KpPOKOIS, VaKLy- ee) AOU, 
Bows, éXeypvoov KAadots, eh ase ie 
) -, € 
oivavOnow, ucpoKar- REN Oe Oe 
Net Te TO hirovpevo, 1 gy BUS 
avOpvoKov x x x x x Haak RE RK 
f / 
x * vapkKiooov Popy Pe 
lol 3 , , 
T® T Gaerppovpw peAtrw- BU ke eo 
, v 
To Kapa TUKACOMAL, ET, Ae 
Kal Yap KUTLTOS avTOMATOS 15 OU UO UE 
XN / ” 
mapa Médovros éepyxerat. UY VI 





1 Dindorf, IV, 1, p. 484; Diibner, p. 108 f.; Thiemann, p. 37 f. 
2 See Zacher, Die Handschriften und Classen der Aristophanesscholien (1888), 
p. 634 f. ° 


‘Logaoedic’ Metre in Greek Comedy 27 


Cf. Cratinus 74, 318. Pherecrates also used the verse, as in 64: 


> - , / 3 
KaTa pupoTwArcdy ti tadovt fu UU 
4 6 > 3 ~ 6 / U 
avop éxpyv Kalnmevov UU 
tunrA@s t7d oKiadel- Eee ebay 
, 
@, KATETKEVATLEVOV Ape ar 
cuvedplov Tos perpakiots Suu 
- > , 
é\Aadeiv Ot Fepas; Solu ue 
3 73 > \ 3 OX / 
aiTik ovdels ovde payel- SET pee] Um 
palvav «oe TwTOTE, BEG ue 
» X INiF7 5 , 
ovTe pnv ovd ixPvorrw- Sua 
Aawav. « * x * * 10 -Uxx xxx 


Cf. also Pherecrates 29, 47, 122, 132, 191, Eupolis 78, 120, Aristo- 
phanes 54, 55, Plato 92, 169, Alexis 206 and 237. The last reads: 


~ 7 ¢ 
vov 6° wa py 1 Suu 
~ 7 
TavTeA@s Boiwrteot gare es Ve 
/ > > - 4 
daivnoO evar tois duacv- Se UUs 
~ 7 
pev vuas eiGitpevois, betes er ey 
e Sez \ \ ~ 
OS GKlVATOL PpEecl Kal Sy es Ue 
~ \ fd / 
Boav Kat mivey povov Us Asus 
Kal Oelirvely éTLOTa EVOL Se ee pes 
> 
dua TéAOvs THY VUXO GAN OuUS Oe 
A > e \ A Y 
yupvovd atitovs Garroy azav- eee ue 


WiS5 #2 2 ¢2 €5 68 Es 10 


re ely cakes 
Ss68s cedess 


The text of some of these fragments is uncertain. In colon 15 of 
Cratinus 98 the manuscripts of Athenaeus read kat xkvtucos. Hermann 
proposed xai yap, Porson xéuot, Meineke xat 0). The resulting form 
(--vvv) is not found elsewhere. Likewise xara puporwdciy in the 
first colon of Pherecrates 64 is Casaubon’s correction of xatapupore- 
Ady. This gives -uvv_ (for -v--), which cannot be paralleled in 
Eupolidean verse. 

The theory here advanced that the Eupolidean verse is a combination 
of the acatalectic and catalectic forms of the polyschematist dimeter 
seems to be established by the facts, and the verse, thus regarded, has 
its exact parallel in the pure Priapean, which combines Glyconic and 
catalectic Glyconic (Pherecratean). See p.15. The ordinary expla- 
nation of this period found in modern books, that it consists of a poly- 


28 Fohn Williams White 


schematist dimeter and catalectic trochaic dimeter, is not borne out by 
the facts and probably arises from an incautious interpretation of the 
account of it given by Hephaestion, as follows (59, 1 ff.): Kat ro 
EvzodSevov 7o Kadovmevov émixopiapBikov TorAvTXynpATLGTOV eoTLV, ev @ 
Tas TpoxYaikas mapa Takw Tovodor SéxecOar Tov o7ovdEiov’ EevioTE O€ KaL 
avtioTactikovy Kafapov moLtovoy, otov 

evppavas Huas amore olKad addov aXXoGE. 


€ 


> 4 re) c 
O cTHppwv TE XY KATATUYOV aplor NKovoaT nv. 


It is important to note, first, that Hephaestion’s phrasing, “pure 
antispast,’’ shows that he regards the ‘trochaic’ element also as anti- 
spastic (see p. 13 f.), and secondly, that the examples which he quotes 
make it clear that when he speaks of variations in the form of these 
‘trochaic’ syzygies of the verse, he is thinking of the first half of it 
quite as much as the second. ‘This understood, no exception need be 
taken to his account of it, especially in view of the brevity of statement 
that he imposed upon himself throughout his Manual. He is explaining 
the form of a polyschematist tetrameter in which he has observed two 
prevailing forms in the two cola that compose it, namely -v_G —uv— 
and 2222 cuu= in the first ;halfiand 2u20 2c) andi = oeamiomue 
second half, with important substitutes that take the forms Y__Y —uv_ 
and Y=-Y -v_. He might proceed \from) any ‘one ot these thneersets 
of forms to explain the combinations of ‘trochaic,’ ‘spondaic,’ and 
antispastic elements that appear in the first and third syzygies, but the 
‘trochaic’ is obviously the simplest. The assumption that the funda- 
mental rhythm is trochaic would be erroneous, but is no doubt furthered 
by the form of xataAnéis, since -vY is the normal xataxXe’s of both 
choriambic and trochaic metres. 

Probably it is from this point of view that the verse named Kpariveov 
should be approached, as a combination of choriambic dimeter and 
polyschematist dimeter, but here in the pure form of the verse the 
‘trochaic’ syzygy prevails in the third foot to the exclusion of all other 
forms. Hephaestion describes it as follows (55, 7 ff.): é€o7e yap éx 
XopiapBikov érysiktov, Tod THv devtEepay iawPiKnv éxovTos, Kal Tpoxai- 
Kov €fOnumepovs’ He then quotes from Cratinus (324) : 


Eve xicooxair avaég, Mh Aa a UL 


xaip épack “Exdayridns, aU ros 


‘Logaoedic’ Metre in Greek Comedy 29 


4 4 , 
mavTa popnta, mavTa TOA- As Uy 
.\ aA A ~ 
[yTa THOSE TO KXOPO, AR) ee 
\ = Z ie \ 
wAnv Eeviov vomotot, Kat aU Ue 
if > f 
Sxowiwvos, & Xdpov. BGEUL UU 


Cf. Cratinus 41, 327. Also Cratinus 9, 146, 210, where the text is 
uncertain. 

A polyschematist form of the Cratineum was also in use by the comic 
poets, which Hephaestion (55, 15 ff.) describes as follows: roAvayypud- 
tustoy d€ avTO TemonKaclY of KwpLKOl. To’s yap Grmovdelovs ToOvS 
éumimtovras év Tois iapPBuKols Kal Tols Tpoxalkois mapa Tag Tapa- 
AawPavovtw év Tais péecas ovlvyiais, TH TpoxatKyn Kat TH iapPuKy. 
fins, wouldscwe the torm Suu C202 2o2G =uY, Hie then quotes 
from the “Aorparevro. of Eupolis an example, which he says exhibits 
hisscextreme licence ’ (37) : 


avopes étaipor detp 77 SI ees 
THY yvounVv TpoTLTxeTeE, 2 LO 
ei Ovvatov, Kal wy TL peél- AU Seer 
Cov mpatTovoa TVyXavEL. ea, geen 


This is the only example now extant. 

Finally there is a famous lyric in Aristophanes, with which we may 
fitly lighten the close of this investigation, that is designed to exhibit 
the ‘extreme licence’ of another great poet, the sources of whose 
shameless extravagances are first stated in preceding trimeters : 


ovTos 6 amo TavTwv peropopet Topywdikdv,' 
oKxoAiwy MeAnrov, Kapxwav atAnuatov, 


Opyvev, xopeiwy. Taxa dé dyrwOyoerTaL. 


This lyric illustrates all the forms we have been considering — and 
some others ! —as follows: 


Ranae 1309-1328 


\ > 
Aico. dAkvoves, at map daevaors SOaracons OMY SUS Oe 
1310 KYpaoe oTwLvVAXETE, SOE ey, 
, A 
TEYyOVTaL VOTLOLS TTEPOV SEN ot mC 





1 wedopopel mopywiik@av Rogers: pmev déper mopudiwy Mss. 


30 Fohn Williams White 


4 , / 
paviar xpoa dpoorlopevar * UuUUUUUUR 
9 aie , \ / 
al 8 jrwpddior Kata ywvias Be Mew) 
¢ ?, 
elevereliooeTe OaxTVADIs padrayyes oo iG ae 
e /, , 
1815 toTOTOVa THVLO LATO, =—VUO Sa 
, 3 A , 
KEpKLOOS GOLOOD peAETas, SOs | AU 
gy? A y 
iv 6 diravAros ézadXe deA- CTU) UU 
\ , , 
dis mpwpars KvaveuPorots 10) ee) ene 
pavreia Kal oradiovs, CO oe 
1320 oivavOas yavos apméXov, SU ae 
Borpvos €AtKa mavoirovov. UuUUUL_UUK 
»’ 4 , 7 
mepiBarrX @ TEKvov wAevas. UR, YoU 
lanl / “~ ~~ 
dpas Tov moda TovTov; Au. dpe. 15) UU) Coo 
, , A nw A 
Aio. ti d€; tTovTov 6pas; At. dpe. UE) UU 
Q ’ an 
Ais. TovavTt pevTor GV TOLoV ome 
A / , 
ToApas Taya pmeAn WEeyev, SAY WoUe Om 
ava TO dwoeKkapnxXavov YUUSU UO! 
Kupyvys peAotowr ; 20 (Uh Ue 


These jumbled quotations from Euripides are in truth a medley, not 
only of incongruous sentiments, but also of varied and, as Aristophanes 
believed, vicious metrical forms. The comic poet has managed to bring 
together in brief space a great variety of cola. The first appears to be 
an extravagant variation of the Sapphic hendecasyllable (Heph. 43, 
19 f.), the prefixed syllable striking the note that is heard more clearly 
in the trimeter that follows in the sixth colon. Cola 2, 7, 11, 17, are 
polyschematist dimeters, the first two with catalexis, as in the last half 
of the Eupolidean. These two are not pure catalectic trochaic dimeters, 
controlled by the colonic stress appropriate to trochaics. Pure trochaic 
cola have no business in this ‘mixed’ company! In 7, ~vuuv— seems 
a wild extravagance, but it is identical in form with Casaubon’s restora- 





1 The metrical constitution of some of these cola is necessarily doubtful, and the 
attempt to determine it can be no more than tentative in some cases. As to the first 
colon, Aristophanes has detywy (V——) in Ran. 147, but devdows (—vYY¥—) in Nub. 
275. In Attic lyric poetry, including the lyrics of Euripides, dévaos is invariably 
—vvuv, The colon, therefore, cannot be iambic (-yyy— yvyuyu— v——). Nor can 
the second and seventh cola be classified as syncopated iambic dimeters, because 
of the short ultimates. No syllaba anceps occurs in the ode, in acatalectic cola, and 
hiatus occurs only in 4, where there is shift to a new theme. 


‘Logaoedic’ Metre in Greek Comedy 3I 


tion of the first syzygy of Pherecrates 64,1. (Seep. 27.) Cola 4, 8, 
13 are mixed choriambic dimeters. Colon 5 is logaoedic, and 6 a 
Phalaecean, with the first syllable prefixed and trilled. The remaining 
cola are Glyconics. 

When these cola are tested by the standard of the comic poet’s own 
practice, his rival’s reckless and shameful disregard of metrical form’ 
becomes apparent. A sufficient number of these cola are deformations, 
when judged by the severe and simple taste of Aristophanes, to damn 
the lyric as a whole. He himself never forces a syllable to do double 
duty, in order to secure a peculiar musical effect (6). He nowhere 
employs a mixed choriambic dimeter of the form vuuvuvy —vu (4, 
13), nor polyschematist dimeters such as ~vuv— -vv (7) and ~-vu 
-vv_ (11, acephalous), nor Glyconics such as vu--u viv and vu_vu 
v-v— (14, 16"). It is the last two that Aeschylus, as the representative 
of Aristophanes, especially reprobates. As he holds them up to ridicule, 
with much humor he incidentally forces Dionysus to perpetrate a third 
monstrosity (15) of which Euripides presumably was never guilty. 


Those parts of Greek Comedy, except prosodiacs (p. 2), which 
have been treated by eminent modern metricians as ‘logaoedic’ have 
now been fully analyzed according to the doctrine of Hephaestion. 
The question naturally recurs with which this paper began. Do the 
lyrics and the stichic periods that have come under consideration 
consist, as Heliodorus and Hephaestion believed, of choriambic, iambic, 
antispastic, and polyschematist dimeters and trimeters, of the value, 
common to all, of 12 or 18 times, or are they ‘logaoedics’ under the 
modern definition of that term, and is the movement throughout ‘ dac- 
tylic’? I do not propose to discuss this question, but simply to add a 
few words of explanation and comment. 

That the current definition of logaoedics does not rest on the authority 
of ancient metricians is generally conceded. Rossbach and Westphal 
state this fact, afparently with no thought that any other view can be 
entertained,” but. Christ? cites Diomedes and Bassus and Goodell 


1 ri 6€; in R, V. 

2 Allgemeine Theorie der griechischen Metrik*®, pp. 352 and 355. 

3 Metrik®, p. 459: ‘‘ In der That ist der Choriambus nichts anders als eine kata- 
lektische daktylische Dipodie, und diese einfach natiirliche Auffassung bricht selbst 


32 Fohn Williams White 


appeals to Marius Victorinus! as grammarians who possessed the true 
doctrine on this important matter, and with varying clearness of appre- 
hension regarded the rhythm of these metres as dactylic. These three 
Latin metricians all maintain the doctrine of the metra derivata. 
Marius Victorinus, to be sure, in one part of the composite work 
ascribed to him, accepts the nine prototypes which appear in Hephaes- 
tion and argues, it should be noted, the claims of antispastic metre 
with special vigor, but elsewhere he follows the rival system. Now it 
happens that the Pherecratean, if one disregards the variation of the 
first part of its first foot and allows here only the spondaic form, has 





noch bei einigen Grammatikern durch, wie bei Diomedes, p. 508, und Bassus, p. 263.” 
Diomedes in the place cited is writing de versuum generibus and says (Keil I, 508): 
‘* De choriambico: Choriambicus est qui constat choriambo pede, qui est ex longa et 
duabus brevibus et longa. huius exemplum est 


ergo ades huc ambrosia de Veneris palude. 
est in Horatio tale, 


hoc deos vere Sybarin quid properas amando. 


recipit hic in imo vel palimbacchium pedem, qui est ex brevi et duabus longis, vel 
amphibrachyn; qui est ex brevi et longa et brevi.’’ 

Bassus is writing de Philicio metro and says (Keil VI, 263 f.): ‘‘ Philicius versus 
ex duplici pede constat, quem bacchicon musici, choriambicon grammatici vocant. 
habet longam et duas breves et longam, id est trochaeum et iambum. . . . exemplum 
eius tale est, 


frugiferae sacra deae quae colitis mystica iunctaeque Iovi nefasto. 


hunc hexametrum ex numero bacchico composuit Philicus, quo usus et etiam Arche- 
bulus, de quo auctore supra rettuli; clusit autem antibaccheo. numerus hic frequens 
est apud lyricos et praecipue apud Alcaeum, Sappho, Anacreonta. nascitur tamen et 
hic ab heroo, cuius dactylo primo, qui constat ex longa et duabus brevibus, si iunxeris 
sequentis dactyli uel spondei syllabam primam, facies choriambum hoc modo, ‘ arma 
virum,’ et in sequenti versu ‘Italiam.’ ad summam pentametrum heroum, qui habet 
dactylos primos duos, velut hunc, 


unde meus veniat mollis in ora liber, 
adiectis duabus syllabis longis facies choriambicum ex heroo pent@metro sic, 


unde meus zc veniat mollis in Zaec ora liber, 
et 

dum meus assiduo luceat igne focus 
sic, 

dum meus /7zc assiduo luceat oc igne focus.”’ 


What light do Diomedes and Bassus here throw on the riyéim of choriambic metre? 
1 Chapters on Greek Metric, pp. 225 ff. 


‘Logaoedic’ Metre in Greek Comedy 33 


precisely the metrical constitution of one of the forms with which the 
heroic hexameter closes (__-vu_¥Y). This is, of course, a large ‘if’; 
even conservative Aristophanes begins the Pherecratean with four inter- 
changeable forms. Furthermore the Glyconic, if one fixes the form of 
its beginning in the same fashion as in the Pherecratean, and accounts 
its last syllable anceps and assumes it to be always short (it is always 
long in Aristophanes), has the metrical constitution of one of the forms 
with which the hexameter may open (~--vy_vv). The Glyconic and 
Pherecratean, therefore, were a great resource for any metrician who 
was endeavoring to prove that Greek metres were derived from the 
heroic hexameter. Accordingly we find, in the prolix pages ascribed 
to Victorinus, all possible changes rung on his tiresome “sic te diva 
potens Cypri’ and “grato Pyrrha sub antro.” Not that he regarded 
the metrical constitution of the Glyconic as dactylic; three times in 
describing metres of Horace (and also elsewhere) he composes it of 
spondeus, choriambus, and pariambus (trochaeus, spondeus). But it 
was extremely useful to him in arguing for his fantastic and unhistorical 
theory of the derivation of metres. That is the purpose with which he 
rings the changes on the Glyconic, and one should be cautious in assum- 
ing that he has any other, namely that he believes and is endeavoring 
to show that the 7hythm of this colon, as apart from its metre, is 
dactylic, a conception that in itself is not easy to grasp. Thereisa 
striking passage in the first chapter of his fourth book! which seems 


1 <¢ Ad summam omnia metra, et quae inter se congruunt, ef quae temporum 
ratione contraria sunt, si plenius consideres, ab heroo traducta sunt. et mehercules 
Siquis excutere penitus velit, inveniet, ut supra diximus, omnia genera ab hexametro 
heroo et trimetro iambico derivata, quamvis et iambicum heroi sit traductivum, nec 
quicquam sine his per se posse subsistere. unde, ut diximus, haec duo metra ut 
elementa ceterorum ac semina habenda merito ac dicenda sunt. haec ita videri atque 
esse, ut diximus, si studiosa contemplatione exempla quae proponuntur adverteris, 
adprobabis. nam metrorum species, quamvis generis sui privilegio distinctae sint, 
famen misceri inter se atque diversis communia effici ea videlicet ratione, qua cuncta, 


legimus apud Horatium 

sic te diva potens Cypri: 
hoc glyconium metrum dicitur, quod constat ex spondeo choriambo et ultimo trochaeo 
veleodem spondeo. commune hoc esse cum heroo trimetro, quod constat ex spondeo 
et duobus dactylis, cunctis in promptu est,*’ etc. (Keil VI, 146, 147.) 


34 Fohn Williams White 


to show clearly what his sole purpose is in the prolonged argumentation 
of this chapter and of most of the third book. There is no hint here, 
or elsewhere, that he is rhythmizing. Whoever believes that he is must 
accept the consequence, and be prepared to find dactylic rhythm not 
only in antispastic and choriambic metre, but also in both the Ionic 
forms.} 

Those who reject the doctrine of Heliodorus and Hephaestion some- 
times speak in a light-hearted and semi-contemptuous way of the cola 
and periods recorded in the Manual as “ paper-schemes,” and assert 
that Hephaestion’s mode of procedure, in determining the constitution 
of a metrical series, was to ‘chop off’ syllables four at a time, and, if at 
the end there was a remainder, to take refuge in brachycatalexis or 
hypercatalexis. This, of course, is pleasantry, as a glance at the metrical 
analyses of the lyrics discussed in this paper will show. Hephaestion 
was not ignorant of the allowed substitutions for normal forms in all 
these dimeters and trimeters, nor of the fact that, as the result of lawful 
substitutions, feet might contain five or even six syllables, and he had a 
singularly clear comprehension of the forms of catalexis. But this 
pleasantry recoils upon its projector, for it seems to be true that the 
lyrics of Aristophanes, at least, both here and elsewhere duly admit the 
measurement prescribed by the “schemes” of Hephaestion. 

Finally objection is taken to the great variety and apparent irregularity 
of form in these cola, and it is asserted with confidence that they are 
not rhythmical. 

The application of the ‘logaoedic’ theory obliterates in many of these 
cola, for example in the choriambo-iambic and the antispastic, the metri- 
cal identity of iambic syzygies that are recognized as iambic by Helio- 
dorus and Hephaestion. But these iambic syzygies may, for the present, 
be dismissed. A sufficient number of unmixed iambic cola remain in 
the lyrics that have come under consideration above to point an 
important fact. These cola are free from admixture with choriambs or 
antispasts and are common ground both for those who adopt and for 
those who reject the ‘logaoedic’ theory and must be dealt with by 
both in the same manner; whether Hermann’s ‘anacrusis’ is recognized 
or not does not affect the rhythm of iambic cola. Now it is precisely 
these iambic cola which show the greatest variety, and for that matter 





1 Marius Vict. VI, 127 and 128 (Keil). 








‘Logaoedic’ Metre in Greek Comedy 35 


apparent irregularity of form. Nor must these particular iambics be 
regarded as singular in constitution because of their association with 
mixed metres. ‘There are twenty odd lyrics in Aristophanes composed 
in pure iambic metre, and in these are found not only nearly all the 
forms of the dimeter that have been given above, but also many others, 
such (omitting catalectic cola) as vuuu_ vuuu_, v-vuy ~-v_, —~-uuU 
—_—Ve, YVYUUUUYU VeUeRy ——_V— VYVUUVE, —-—-VY— = UUY, —--V— —-UUU-, —-VU-— 
—vuuuy, vuuuuu vuuuuy, etc. In comparison with these iambic cola, 
the mixed choriambic seem singulary staid and regular, admitting variety 
of form only through their admixture with iambic syzygies. The anti- 
spastic dimeters likewise show relatively a small number of different 
forms, but in these and the polyschematist dimeters the forms seem to 
be more irregular. 

But in what does this irregularity consist? The colonic stress in all 
these cola seems to be iambic. Jambic form, at least, prevails almost 
everywhere. It is exclusive in the considerable number of pure iambic 
dimeters that are freely combined, in the lyrics which have been 
analyzed above, with choriambic and antispastic dimeters ; mixed chor- 
iambic dimeters and antispastic dimeters are themselves always éaipuxta 
mpos Tas tapBukas. This fact may indicate the way to the solution of 
the vexed question of the apparent irregularity of form and alleged lack 
of rhythm in these dimeters, and this solution may be approached most 
easily by consideration of the Glyconic. ‘This, in its normal constitution, 
according to Hephaestion, is u--v v_v-_, antispast and iambic syzygy. 
The disturbance of the normal rhythm in this dimeter, assuming the 
rhythm to be iambic, may be accounted for by the principle with which 
we are familiar in modern music of inversion of rhythmic stress, or 
syncopation. In modern music the rhythmic beat falls on the note at 
the beginning of the measure ; in ascending rhythm in Greek it falls on 
the note at the end. Adapting the form of statement to the Greek 
practice, syncopation in iambic rhythm was the process of inverting the 
normal rhythmic stress by beginning a tone on an accented beat and 
sustaining it into an unaccented one so that the proper emphasis was, 
in greater or less degree, carried forward to the latter." Thus, whereas 


1 Or, if stress in the modern sense did not exist in ancient Greek, syncopation in 
iambic rhythm, in which the down-beat follows the up-beat, was the process of invert- 
ing the normal order of arsis and thesis. I purposely avoid raising a question that has 


36 Fohn Williams White 


the iambic dimeter in it§ normal form would be: 


Bi eee 





the Glyconic in its normal form becomes: 
V 
ee dia es 


This inversion of rhythmic stress may extend to both parts of the 
antispast. The first part of this foot allowed substitutions. In Aristo- 
phanes these are -_ or -v or vuv. Of the four possible forms, three 
(v2, -“, vvG) are legitimate forms of the iambus in this place in the 
iambic syzygy. The fourth (4v) shows shift of rhythmic stress 


Ds ele 





V Vv 
(d&g P12) YJ). ” This simple explanaticn or theyel-= 


conic was offered many years ago by M. Henri Weil in an article in the 
Revue Critique, the importance of which has not, I think, been properly 
appreciated. 


been vigorously discussed, especially in America, in its application to both Greek and 
Latin poetry. See Bennett and Hendrickson in the American Fournal of Philology, 
XIX (1898), pp. 361 ff., and XIX (1899), pp. 198 ff., 412 ff., and Goodell, Chapiers 
on Greek Metric, pp. 155 ff. 

1 Revue Critique, VI (1872), p. 49 ff. I quote from p. 52: ‘‘Je suis plus 
affrmatif aujourd’hui: je crois qu’il faut tout simplement adopter un témoignage con- 
firmé par tous les métriciens anciens de quelque autorité, et que la seule chose qui 
nous reste a faire, c’est de traduire les expressions antiques dans le langage des 
musiciens modernes. Disons que les glyconiques sont des mesures a douze-huit, qui 
admettent au commencement de chaque membre de phrase vocal une syncope faculta- 
tive et plus loin une syncope réguliére. 


Tov ap - yn - Ta Ko - Aw - vov ev’, a Ai- ye - a piv - WV = pe = Tae 
1 
Ber or ¢ elt fp 6 6 oo ee 


On voit qu’il y a trois syncopes dans ces deux mesures: nous avons mis un point sous 
les notes qui ont une moitié de leur valeur dans un temps et l’autre moiti¢ dans le 
temps suivant. Mais les anciens, nous l’avons dit, ne scindaient pas ainsi les valeurs 
concrétes: aussi trouvaient-ils ici un assemblage de pieds contraires (dvrurafets), 
iambes et trochées, et ils battaient la mesure de maniere 4 faire sentir la marche 
A contre-temps: systéme compliqué et qui dérouterait singuliérement un chanteur 
moderne. La rhythmique est fort développée chez les anciens, et on peut voir dans 
Aristide Quintilien combien ils étaient sensibles aux effets de rhythme: il ne faut done 


‘Logaoedic’ Metre in Greek Comedy 37 


The application of this principle to the other cola is simple, and clearly 
marks their differentiation from one another. The choriambic dimeter 


Jaa J ad 


in its normal mixed and pure forms is Nu eee Nu) 





Vv 
. yy) The poly- 


V V 
ieee ey aN Jando ocn he | 








Vv 


Vv eae 
sehematist 1s: Nei) el IN|) J Nein | | his view does not destroy 





the entity of the antispast and choriamb as fundamental feet. Both 
are in § time and are in ascending rhythm. ‘The former is a foot that 
usually occurs in combination with an iambic syzygy and is marked by 
shift of rhythmic stress always in the second half and sometimes also in 
the first. The choriamb, which is rarely used ‘pure,’ is always marked 
by shift of stress in the first half, never in the second. Syncopation 
in modern music, my colleague, Professor Spalding, informs me, always 
gives an enlivening effect; whatever the sentiment may be that is 
conveyed by the verses to which the music is set, and it may greatly 
vary, inversion of stress animates the melody. It is precisely the 
device, therefore, that we should expect to find applied in ‘logaoedic’ 
verse, which, to characterize it briefly, is a vigorous metre of all work. 
That the Heliodorean and Hephaestionic doctrine of metres assumes 
a mous dwdexaonmos OF 6kTwKaidexaonpos as the unit of measurement 
in rhythms in § time is obvious. The dimeter, in particular, prevails 
everywhere, not only in the metres considered in this paper, but also in 
lyric iambic and trochaic metres and in the iambic and trochaic tetra- 
meters of recitative verse. Among these the mixed cola of ‘logaoedic’ 
metre, it may be conceded, are complex. As M. Weil has remarked in 
his luminous explanation of the Glyconic, Greek rhythmic was a highly 
developed art. The embarrassment and difficulty, however, which we 


pas s’étonner que les syncopes aient été multipliées dans leurs compositions musicales.’’ 
M. Weil has here inserted bars in such manner as to mark off one complete colon of 
twelve times, beginning as in modern music with the strong accent. See also his 
Etudes de littérature et de rhythmique grecques (1902), pp. 181 ff. and 203 ff. — The 
‘logaoedists’ have their own peculiar difficulties with this unruly variable element at 
the beginning of the Glyconic. Cf. the first and third editions of Rossbach and 
Westphal’s Griechische Metrik, ed. 1, p. 479 ff. (A2ythmus', pp. 151 ff.), and ed. 


3, p- 542 ff. 


38 Fohn Williams White 


moderns, with little if any feeling for quantity, may experience in 
rendering these cola, without the music, is surely not sufficient ground 
on which to assert that a Greek, as he sang them, may not have felt 
them to be as rhythmical and melodious as pure dactylic or pure 
iambic series. 


INDEX OF PASSAGES CITED FROM GREEK COMEDY 


(The numerals following the parentheses indicate the pages of this article.) 


PMlexIS5\°/7,2.2e) (200). 2 7. (2Ag 27 
Aristophanes, Ach. (1150-1173), 9. 
Eq. (551-564 = 581-594), 155 (973- 
996), 14. 
Nub. (510-517), 3; (518-562), 26; 


(563-574 = 595-606), 25; (700- 

706 = 804-813), 4; (949-958 = 

1024-1033), 5. 
Vesp. (319-322), 22; (526-545 = 


631-647), 53 (1226f.),17; (1238), 
Ij, (1245-1247), 073) (L249))5) 75 
(1450-1473), 23. 

Pax (785-787 = 807-809), 10. 

Av. (676-684), 20; (1372 ff.), 11 f.; 
EATON tie) 5175 am CLAUS) inet: 
(1724 £.), 10; (1736 = 1742), 223 
(1743), 22; (1754), 22. 

DAs (QUO) 1) Ulin 21--349))aa7. 

Thesm. (352-371), 21; (990-1000), 
19; (1136-1159), 20. 

Ran. (213), 10; (1251-1260), 14; 
(1309-1328), 29. 


Liccl. (902 = 908, 905 = 910), 10; 
(911-923), 19; (938-945), 173 
(968-975), 8. 

frag. (10), 103 (11), 10; (30), 10; 
(54))5 275) C55) 27 LOO) ayalioss 
(140), 153) (a4) uss G42) nege 
(533), 10; (561), 24; (695), 18. 

Crates, /rag. (33), 15. 

Cratinus, /rag. (9), 293 (41), 29; (74): 
27; (98), 26; (146) 29; (172), 11; 
(210); 295) (221), 155) Guo) ere 
(320), 153 (321), 175 (324), 28; 
(327), 29. 

Eupolis, /vag. (37), 29; (38), 10; (78), 
27; (120),27; (159), 10; (162), 155 
(163))5)105)5GO6l))) LOsm(gO2) peene 

Pherecrates, Frag. (13), 24; (29), 273 
(47), 275 (64),273 (79),153 (95); 
243 (96), 24; (109), 25; (122), 275 
(131), 2S) (132), 127 Ol) are 

Philyllius, 77ae. (5), 25. 

Plato, Frag. (92), 27; (169), 27. 


ee 
i ¥ 
i a is 





FI 


af Dy 
Lars 


oy 
Hy, eA * if 


yaw UVa, 
a 


. 


ta 


. 

















+ 


tei Re are, 
Sie tte 
i BAe 


bakes 
yikes 








Date Due 








win EE 


D0049 





bis ee | 527814 | 
W585 
é | 





ees | 


vb PP 


“aes 


Ree Sn 


og eee aa ee 
Ce ee 


reteeseths 


Rare 


ry 
a 


= 
Sra tee SS 
Se Ee eee - a 


aw +: 


erase : 
: eee = s aeatere 
fe abeene ~ = 


SG once Sos 


et; 


SRS 


pa caso goes 
eS 
ness 
gg nn oe AE AE ee a 
rere reeennret 





ae a we 


